Pretty – “Chops 4 Breakfast”

West Baltimore producer Shantele Pretty has gifted fans of golden era-hip-hop with a brand new beat tape: “Chops 4 Breakfast.” For those unfamiliar with hip hop, a beat tape is a project of instrumentals from a producer, usually given to a rapper for them to have a selection of sounds to write to. Producers often release their beat tapes as full projects. 

“Chops 4 Breakfast” opens with a vintage tutorial recording defining the word “steady” on “Steady Wins the Race.” Keeping that pace, Pretty provides a full meal for any hungry emcee who has the skill to create introspective storytelling, metaphors, wordplay and entendres. With rare samples, beat breaks, and head-nodding bass drums, “Chops 4 Breakfast” is also a great backdrop for workday productivity.

Pretty began her musical journey by learning to DJ at the age of eight and mastered the saxophone by age 13. She has worked with veteran Baltimore rapper Greenspan, and producer Kariz Marcel’s Blackwater Production House. She is also the curator of “SESSIONS,” an ongoing creative series where she brings artists together to create songs on the spot in real time. She is currently working on a project with female emcees Kay L.A., Illy, and Lyrikal Miracle. 

Pretty, being influenced by producers like J Dilla, DJ Premier, and Q-Tip, delivers tracks that flow together smoothly and are reminiscent of favorites from Slum Village to Rapsody and Nas. “40” gives a nod to her love for instrumentation with a smooth, driving horn sample, followed by the final track “Don’t Stop Now” which fittingly made this listener want to run the whole tape back from the beginning. 

“Chops 4 Breakfast” is available on Bandcamp and all other streaming platforms. 

Astronaut Symphony – “Cloud Nebula”

Afro House, a Baltimore-based production company, has released “Cloud Nebula,” a debut album from the collective Astronaut Symphony. 

A futuristic, multimedia collaboration, the album was recorded in late April of 2025 before a sold-out audience at The Voxel in Baltimore. It’s the sci-fi story of Jakub, a cosmic star in human form, tasked with guiding the refugees of her dying planet to the Golden Cloud Nebula. On “Ship Announcement,” the album’s opener, the voice of a Black woman flight attendant invites the listener to store their luggage and tap in for the ride. 

“Welcome to the Spaceship Third Eye. We will begin boarding shortly. Please ensure that all your belongings are with you and can be secured in your pod,” she says.

“Cloud Nebula” does what the perfect live album should do: make you wish you were one of the lucky people in the audience that night. Yet, the mix and mastering by Max Bent is such that you can forget you’re listening to a live album until the enthusiastic applause appears at a song’s ending. 

The album is a collaboration of immensely talented musicians. Composed by Scott Patterson who also appears on keys and vocals, it also features Elise Jenkins, R. Joshua Reynolds, and Darius Sanders on vocals with Ray Winder holding down alto saxophone, electric guitar and vocals. Ra Patterson is also on alto saxophone, Judah Patterson plays electric guitar, and Philip Thomas is on drums. If you’re not lucky enough to witness them at the National Aquarium for the sold out edition of Voyages on July 17, keep an eye out for future performances. 

Check out “Cloud Nebula” on Bandcamp.

Mowder Oyal – “Prefigurative Musics”

“Imaginary. I imagined I chewed Bmore soil and spit out ancestral bones,” Mowder Oyal’s drummer and co-founder Bashi Rose calmly intones in a spoken word piece that begins the band’s sophomore album. Adam Holofcener’s guitar greets us as does James Young’s bassoon, joining Rose’s work setting the scene for a journey of organized calamity through tracks “Aw Fuck!”, “Clutch,” and “Container.”

By the time you reach “Goblin” and hear a voice yelling mixed in with Rose, Holofcener and Young’s composition, the album has already offered a taste of nearly everything from hardcore to jazz in a fusion of self-described “Tuff Music from Baltimore City.” 

“Prefigurative Musics,” for the most part, is fairly different from their self-titled 2022 debut album showcasing musical growth, vision, and cohesion between the members of the band. They close the album by revisiting the piece that began it, but this time it’s flipped by Baltimore producer Mighty Mark into a club music remix. Catch them live with new front vocalist Sun Lynn Hunter, who isn’t featured on the album but brings a whole new creative energy to the stage. 

Check out this must-have Baltimore project on Bandcamp.

If you would like your music to be considered for Baltimore Beat’s Best Beats, send us your project, along with a short bio (no more than 100 words) and a photo of yourself (with the photographer’s name) to music@baltimorebeat.com.

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shekdash & Tromac NIGGA MODE – REMIXES

Some things are just for us. Released just in time for Juneteenth, the “NIGGA MODE – REMIXES” EP is an unapologetic sonic declaration of Black sound. Curated by producers shekdash and Tromac, the project is a powerful reclamation of electronic music as a Black art form, made by and for the culture it represents. The project assembles 17 of the brightest producers from around the world for a single, resonant purpose: to forge a new club classic. The throughline is the titular chant, a recurring impetus that weaves through each artist’s unique reinterpretation, creating a unified front of creative expression. It’s a statement that Blackness is expansive, multifaceted, and the foundational source of the rhythms that make us dance.

The EP is anchored by a formidable contingent of Baltimore’s finest. Cadeem LaMarr brings the frenetic, hip-swaying energy of his live sets, cleverly layering a “Happy Juneteenth” chant over a Baile funk beat in a moment of pure, timely celebration. Meanwhile, Kade Young’s remix brilliantly builds on the original with his signature percussive flair, and S.DOT contributes a track driven by titanic, epic drums that feel monumental.

This local brilliance is part of a global conversation. The project is an exhilarating journey through the diaspora of dance music, connecting Baltimore to Brazil, New York, and beyond. The groovy mix from NYC’s Amal (of Black Rave Culture) sets a vibrant tone, while the intergalactic footwork from Chicago’s TekLife legend DJ Manny feels like a transmission from the future.  DAYE.’s deep house version, which layers a Nina Simone sample into the mix, is a standout that demands to be heard on a proper sound system. From jersey club to juke and jungle, the EP showcases the rich variety and shared roots of club music. It’s a powerful, joyful, and essential collection built to carry us through the rest of the summer and well beyond.

HAPPY JUNETEENTH!

Support the artists directly by purchasing the project on Bandcamp. 

Yaira Wang – XX

“Sometimes what you really need/ Sometimes what you really need it’s not what you really want sometimes what you really need it’s not what you really don’t , sometimes you need to just get in the lime light , sometimes u need to rewind and go about your life”

Baltimore’s downtown scene remembers Grey Dolf, an artist known for her wonderfully unpredictable and genre-defying approach to rap. Now, she has re-emerged as Yaira Wang with “XX”, a deeply personal and triumphant new EP. The project marks a powerful evolution, born from adversity and offered as a lifeline. “I hope this boosts you up like it helped me get through the roughest time of my life,” Wang shared upon the EP’s release, and that raw, restorative energy is felt in every track. On standouts like the dreamy “PINK BOW WHITE TEE” and the defiant “I KNO HOW IT BE,” she crafts soundscapes that are both tough and tender. It’s a stunning re-introduction and a testament to the healing power of making music for yourself and your community. Welcome back (and thank you!), Yaira Wang.

You can listen to the full XX EP here. 

Nourished By Time – “Max Potential”

“If I’m going to go Insane, least I’m loved by you

If my heart shall burst or break, it was overdue”

Nourished by Time — the alias of Baltimore singer, songwriter, and producer Marcus Brown — has officially announced his much-anticipated new album, “The Passionate Ones,” out August 22 on the legendary XL Recordings. The album’s lead single, “Max Potential,” arrives with a music video that is an elegant, heartbreaking short film directed by Brown himself. It opens with a person silently mouthing the words, “You’re fired,” before cutting to a crash of ocean waves. This is followed by a flurry of birds and the introduction of Nourished by Time, building anticipation. The video then settles into a dreamlike state, wrapped in a muted color palette of surreal, navy hues. Scenes of Brown lighting red candles or swaying against a backdrop of blurred city lights enhance the feeling of a waking dream.

The song’s power is crystallized in a single, melancholically triumphant lyric: “If my heart should burst or break, it was overdue.” It’s a moment of pure, resonant truth. The video’s climax builds to a crescendo as Brown sways before a blurry cityscape at sunset, finding a strange peace in the chaos. The final, lingering shot — his tie discarded on a concrete sidewalk as traffic rushes by — is a perfect metaphor for the resignation, and quiet victory, that comes with accepting a relationship is truly over. If this stunning single is the preview, “The Passionate Ones” is shaping up to be one of the most essential Baltimore releases of the year.

Building on the momentum from a busy spring, which included a conversation with writer Lawrence Burney for his Sonic Legacies series, the artist is kicking off a tour this summer. Highlights include performances at Lollapalooza in July and Outside Lands in August, culminating in a hometown show at Ottobar on September 11.

Download “Max Potential” and pre-order “The Passionate Ones” on Bandcamp. 

Moon Tide Gallery – “Sweat You Out”

“I always break first, give me your worst/ 

I can’t sweat you out” 

Speaking of love that lingers, it’s always bittersweet when a beloved local project takes a final bow. Moon Tide Gallery, the creative alias of singer-songwriter and multi-instrumentalist Mason Tyler Gainer, has announced that his next project Denim will be his last. “Sweat You Out,” is the single, and the track is a fitting send-off; lyrically, it speaks to the struggle of not being able to shake the feeling of someone, while sonically, it’s a colorful and moody blend of psychedelic pop and sharp indie-rock hooks. It’s one last mesmerizing trip from an artist who has carved out a unique space in the Baltimore scene.

This is your last chance to see the project live. The official Moon Tide Gallery farewell show is happening next Friday, June 20 at Metro Gallery, with frequent collaborator notcharles performing a DJ set. It’s an opportunity for the city to give a proper, memorable send-off to a fantastic musical endeavor. Don’t miss it.

You can stream Denim in its entirety, including “Sweat You Out” on Spotify

If you would like your music to be considered for Baltimore Beat’s Best Beats, send us your project, along with a short bio (no more than 100 words) and a photo of yourself (with the photographer’s name) to music@baltimorebeat.com.

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DJ-SUN “Didn’t Cha Know” Remix 

The magic of DJ-Sun’s remix of Erykah Badu’s “Didn’t Cha Know,” released on May 16, is that it catches you off guard, the kind of flip that catches you mid-sway and makes you want to dance joyfully. 

Taking the soulful, jazzy foundation that Badu built upon that perfect baseline from Tarika Blue’s Dreamflower, DJ-Sun masterfully speeds things up and modernizes the sound. Around the 22-second mark, he introduces a buoyant, driving beat and shimmering electronic textures that feel both contemporary and celebratory, groovy and breezy. 

Yet throughout the track, he preserves the essence of the original, allowing Badu’s signature honeyed vocals to shine through. 

DJ-Sun’s take on “Didn’t Cha Know” is a testament to the timeless appeal of Badu’s artistry — and the production from that album, which included J Dilla and Questlove — and his own knack for crafting remixes that both respect the source material and inject a fresh, exciting perspective. 

“Didn’t Cha’ Know” is streaming on bandcamp.

glowflower xochi Break It (feat. Alex In Wonderland & Ragdollz) 

Xochi Maldonado’s new single “Break It” from her album “The After Party” is a potent and moving work that immediately establishes its depth. The track opens with a poignant spoken word sample — “Take care of people no matter what their walk of life is” — set against the melancholic strum of an acoustic guitar and the distant wail of police sirens, creating a powerful juxtaposition of empathy and societal tension. 

Maldonado fearlessly weaves her own experiences as a Latina transgender woman with the fight for freedom in Palestine and the realities of Baltimore, incorporating the raw energy of protest audio and a resonant chorus featuring local musicians. This intergenerational chorus underscores the timeless and borderless nature of the fight for liberation. 

You can stream this project on bandcamp or Youtube.

S.DOT – SPECTRUM EP

Veteran Baltimore club producer S.DOT is back, and his latest release is poised to soundtrack your summer. Known for seamlessly blending the infectious rhythms of genres with the smooth melodies of R&B and the catchy hooks of pop, S.DOT crafts ethereal tracks that feel both otherworldly and perfectly at home on a packed dance floor.

This new project, released on May 17, 2025, is more than just a collection of songs; it’s an edit pack designed to provide the backing track for those liminal spaces — the after-hours energy of an underground gathering, the quiet tension between days, the unspoken distance between lovers meeting on a foggy dance floor. S.DOT himself describes the project as reflecting a duality, moving between moments of “light and ethereal” beauty and a “heartfelt and heavy” emotional resonance.” 

While the tracks are perfect for those hazy dancefloor moments S.DOT envisions, I couldn’t help but hear them as the score for navigating the complexities of a breakup. The ethereal textures and underlying emotional weight create a sonic landscape that feels both vulnerable and resilient. 

Mixed by S.DOT, mastered by El Blanco Nino, and featuring striking artwork by Ty Davis, this latest offering is a testament to S.DOT’s continued evolution as a producer and his ability to capture a unique emotional space within the Baltimore club scene and beyond.

You can stream SPECTRUM on all platforms. 

The Black Mermaid/Kendra Banks – Flow Those ABCs 

While “Flow Those ABCs” by The Black Mermaid dropped in 2023, it recently landed on my radar, and as my circle of friends with children grows, I find myself increasingly drawn to media that champions a multitude of perspectives and identities. Kendra Banks is the multifaceted creator behind The Black Mermaid, a vibrant series of books and songs for young girls.

We need more club music nursery songs! “Flow Those ABCs” featured the signature energy you’d expect from Baltimore’s own Mighty Mark. It’s exciting, it’s dynamic, it’s educational. It reminds me of my love for The Magic School Bus and Arthur growing up.

The Black Mermaid League Academy, a platform spearheaded by Dr. Jaky B. EdD. and Banks, cleverly employs colorful imagery, imaginative lyrics, and undeniably danceable beats to teach children how to read. This project, encompassing engaging books and relatable YouTube videos like “Flow Those ABCs” makes learning an interactive and joyful experience.  

You can find more information about The Black Mermaid online at theblackmermaids.com.
If you would like your music to be considered for Baltimore Beat’s Best Beats, send us your project, along with a short bio (no more than 100 words), and a photo of yourself (with the name of the photographer) to music@baltimorebeat.com.

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Chipelo – “Sirena”

It’s no secret that Baltimore’s Latino population has grown substantially over the past two decades. So, it should be no surprise that the sounds and vibes are here as well. Chipelo is currently a student at Towson University. His single “Sirena,” however, can be seen as a crash course master class in making a hit. The dark, seductive intro grabs you immediately in anticipation for the beat that does not disappoint once it drops. Chipelo, taking a thoughtful stroll down by the harbor in his music video, speaks candidly about the universal experience of dealing with a toxic lover and we’re dancing to every second of it. 

dime que te pasa (pasa)
Tell me what’s wrong with you/

sirena en el agua (agua)
Siren in the water/

me cantas cosas falsas, yeah
You sing me lies, yeah/

para atraerme a ti
To lure me in/

las bichas me atrasan
Girls slow me down/

y siempre termino en sus camas
And I always end up in their beds/

salís del mar y me cantas
You come out of the ocean and sing to me/

pa’ atraparme y ahogarme baby
To trap me and to drown me, baby/

Sirena is streaming on all platforms. 

DJ AAVE ft. Kayden Chloe – “So Baltimore” 

We can never have enough Baltimore anthems. The city is so multifaceted and limitless in terms of creativity that you have to ask yourself “Should there ever be just one anthem?” Absolutely not. Enter DJ AAVE, a Baltimore-based DJ, producer, drag performer, and seamstress. This brand new original piece “So Baltimore” is just as fun to listen to as it is to watch. In the Spitcam University video, AAVE and Kayden Chloe give all that is needed to be given and leave not a morsel to be desired. All of the elements of a Baltimore Club banger are there from the catchy hook, the claps, and choreography to the mandatory unfiltered, shit-talking verses.

“I’m that bitch, looking like a dish/

Eating up Charles Street struttin my shit/

Hardcore whore. Steppin on the floor/

Everyone adores so I serve it up more/

Stream the song on Apple Music and Spotify and run the YouTube numbers up. We got one for the summer playlists. 

The Bysons – “Kathmandu”

Mike and Jadie Byson may be your typical, modern-day life partners. In love with each other and making music together. But, look a little deeper and see The Bysons are quite an intriguing couple. These two Baltimorean world travelers are working on an EP that is full of songs spawned out of their 2023 travels throughout Asia. Jadie is a documentary photographer and Mike is a mixed media artist who has had work featured in several parts of the globe. 

If I hid their new single “Kathmandu” in a ’70s music playlist full of songs themed for cross-country drives, letting your armpit hair grow out, and welcoming the freedom of defying rules and swimming in rivers during normal business hours, you’d be none the wiser. Kathmandu reminds us how simple it can be to make a positive change and just get away. This first single is a solid offering in anticipation of their upcoming EP “Meet the Bysons.” 

“Kathmandu” is streaming on all platforms. 

Bashi Rose “Ritual of Rebellion”

Drummer, curator, and multifaceted visual artist Bashi Rose is no stranger to Baltimore’s music scene. He is the backbone of the band Mowder Oyal and the brains of his abstract free jazz group, Konjur Collective. This offering comes by way of Detroit’s “Ornette Coleman Fiend Club” on Bandcamp. In just under an hour, Rose takes us on a journey between the past and the future. The two tracks, “Side A” (28:09) and “Side B” (28:43), seamlessly weave in and out of spoken word, improvised jazz, hip hop, soul, and beyond. With Rose leading with vocals and drums, the project moves in and out of peace, chaos, history, and funk. He features Brandee Younger on harp, ELDER RA on electronics, King Solomon on percussion and vocals, Tracey Beale on vocals, Jamal Moore on saxophone and electronics, Michele Blu on singing bowls and percussion, Jeron White on upright bass, with Mitchell Ferguson and Rose’s father Conal Bashiri Rose contributing spoken word poetry. At one point the collective covers John Coltrane’s “Equinox” with Conal Rose doing the melody with his voice. There’s so much to unpack in this, it’s clearly meant to be enjoyed again and again.  

A highly recommended Bandcamp listen and support. 

Plant Dad – “i can be ur lady”

Musician, teacher and curator Ralph Bernabe aka Plant Dad flexes some serious songwriting skills with his newest single “i can be ur lady.” Joined by producer Matt Hurd, this track feels good from start to finish. Once you delve into these lyrics, you find a freeing message of gender fluidity. Redefining what kind of power is held in embracing femininity. It’s hard to escape the soothing vibes of a straight forward talk over spliffs and tea.

“Blunt for Blunt and you can leave the blow/

You’re moving like a sinner just for show/

Curious you want me to ignore/

The reason that your Mama’s broke/

“I can be ur lady” is now streaming on all platforms.

If you would like your music to be considered for Baltimore Beat’s Best Beats, send us your project, along with a short bio (no more than 100 words), and a photo of yourself (with the name of the photographer) to music@baltimorebeat.com. 

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For this edition of Baltimore Beat’s roundup of the local music we love, we’re looking back at 2015, when Freddie Gray died while in police custody. The uprising that followed was a moment in history that sparked literal and figurative fires in the city. 

Bop down memory lane with us real quick as we listen to a few tracks that Baltimore musicians released during that time. 

Tate Kobang, “Bank Rolls (Remix)” 

It’s hard to think of Baltimore in 2015 without Tate Kobang’s “Bank Rolls.” The song coincidently  dropped on the exact day Freddie Gray died. Kobang released the song as a tribute to his late mother and as a promo for an upcoming mixtape. The song is a remake of Baltimore rapper Tim Trees’ radio hit “Bank Roll,” which originally dropped in 2000. Kobang’s track was produced by OG Baltimore Club veteran Rod Lee, who also produced the original track. “Bank Rolls” turned out to be a viral hit, landing Kobang’s words in the ears of people around the world right around the time it may have been needed. He couldn’t have opened the track with a more perfect braggadocio line of an emcee boldly repping his city: 

Bitch I’m from Baltimore, you say you was, I never seen ya / What part you on? I got some family on the Alameda 

This remix, like the original, is stamped as a Baltimore anthem. 

Young Moose/Martina Lynch, “No Sunshine”

This gem dropped in 2015 and is still getting views on YouTube. Featuring a sample of Bill Withers’ classic “Ain’t No Sunshine,” the video opens with clips of scenes from the Uprising, including one of a young man being sprayed in the face with what appears to be tear gas or mace, as Baltimore police officers pull him to the ground by his locs right on the corner of Pennsylvania and North Avenues. 

Moose, who would later become instrumental in bringing light to the horrific practices of the Gun Trace Task Force, calls out harmful rumors that were spreading at the time about the way Freddie Gray died: 

They say he killed hisself they really spreading the rumors

They say he died in the alley, they say he died in the paddy

Man them bitches assumin’, them bitches assumin’

Lynch, who has since built a solid name for herself as one of the top lyricists from Baltimore, raps: 

Look, the police don’t know me but they wanna take out my homies

And my ni**as on the streets they shootin too. No Sunshine, they bulletproof 

So we don’t get no sunny days. Feeling like a slave I wanna run away

But I’m up in the hood tryna find a way. Rest in peace Freddie Gray

Joy Postell, “Hands Up, Don’t Shoot” 

The chant “Hands up, don’t shoot” became popular at protests after the death of Michael Brown in Ferguson, Missouri, in 2014. This song, which features Joy Postell accompanied by guitarist Steve Francell, echoes the chant as a call for the end of police brutality. Postell is still creating beautiful music. Her most recent releases have been a string of singles, including “Have Mercy,” “showme” and “Many Men,” that can be found on all streaming platforms. 

Living Classrooms students, “Believe in Baltimore” 

This adorable and upbeat anthem came out of a collaboration between Baltimore City students and members of Baltimore bands Future Islands, Lower Dens, and Celebration. It was powered by the workforce development and education nonprofit Living Classrooms and the music education nonprofit Believe in Music. Believe in Music has since folded, facing major funding cuts during the pandemic in 2020. In 2015, many collaborations like this took place as funding poured into youth programs particularly focused on the arts and recreation for young people. The video is still up on YouTube. 

Comrade, “Right Back” 

Comrade began to blow up locally in 2015 with this single “Right Back.” The song expresses the relentless nature of Baltimoreans to push back against injustice. Most recently, he dropped an album in 2024 titled “Comradery” with features from King Midas and King Los. 

Prince, “Baltimore” 

The Baltimore Uprising attracted the attention of many Black celebrities. Some came here looking for clout while others, like music superstar Prince, seemed much more sincere. The musician held a “Rally for Peace” concert that featured appearances from then-State’s Attorney Marilyn Mosby, Doug E. Fresh, and Miguel. He also released this beautiful ode to Baltimore. The music video ends with a quote from Prince himself: “The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life…” 

The post Best Beats: Baltimore Uprising Edition appeared first on Baltimore Beat.

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.

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. 

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. 

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.

The post Baltimore Music Right Now: JaySwann appeared first on Baltimore Beat.

DJ AyyMello: “Kendrick Lamar Squabble Up (Baltimore Club Mix)”

Don’t say you’re a fan of Baltimore club music if you don’t know who DJ AyyMello is. He won the eighth annual “King of Baltimore” club dance competition created by Bmore Than Dance and was a featured artist in TT The Artist’s musical-documentary “Dark City: Beneath the Beat” (that’s currently streaming on Tubi, by the way). He has ingrained himself in the city’s culture. 

His most recent release does what Baltimore club music does best, marrying our homegrown sound to mainstream hits. Kendrick Lamar’s “Squabble Up” was one of the most anticipated songs of 2024. The single, which samples the 1983 Debbie Deb freestyle “When I Hear Music” had us all dancing in our best West Coast impression. But Mello’s remix will bring you right back to The Avenue with the hard hitting claps, loops, and sirens that Baltimore club is known for. 

Check it out on his Soundcloud. 

Love Nova feat. President Davo: “Die For” (Mighty Mark remix) 

Mighty Mark continues to wave his Baltimore flag high with this remix of R&B singer Love Nova’s “Die For” featuring the late President Davo. An upbeat approach to the love song, the remix plays well for those who miss Davo’s unique voice while giving a glimpse into what we can expect from Love Nova’s upcoming EP, slated for release this year. 

Listen to the song on your favorite streaming platforms.

Nina Gala: “Honey” 

Baltimore-based singer/songwriter Nina Gala dropped a new single “Honey” on March 6. The song is cinematic in its dramatic ambience, inviting you into her hauntingly seducing vocals and harmonies. The gritty production creates a backdrop perfect for any relaxing baecation playlist. 

Check out Honey on Spotify or any of your favorite streaming platforms.

Eyas: “Quiet-loud” (EP)

Baltimore Filipina musician/producer Jenna Balderson AKA Eyas has released a beautiful six-song EP that feels almost too fitting for the current times, when we all may need to sit back, turn the world off, dance in our spaces, and do some self-reflection and checking in. 

The EP is produced alongside Bartees Strange of the record label 4AD. Balderson and Strange do an excellent job of traveling in and out of songs, switching tempos without losing a calming therapeutic theme and sound throughout. “Admitting I’m Not Well” is a heartfelt song any recluse can identify with. On it, Eyas Sings: 

I think in film 

I speak in frames

I love in all

I live in pain

Oh, you know I tried giving you a call

I thought we’d talk about it

But I guess that I’d thought wrong

Yes, I know its hard, when I don’t say a word

What do you know?

Tell me what have you heard? 

This project is one of those that make you question why some of the best stuff comes out in short EPs while less desirable albums are drawn out and long-winded. We’re definitely looking forward to more from Eyas.

Check out “Quiet-loud” on Bandcamp. 

If you’d like to have your music featured in Best Beats, send it to: music@baltimorebeat.com. To be considered, please email us a short bio (no more than 100 words), a photograph of yourself, and a link to your new project. Please include the credit information for the photographer.

The post Best Beats: 03/26/25-04/09/25  appeared first on Baltimore Beat.

DJ Dolla, “2.22FM” 

Released on February 22, 2025, in celebration of his birthday, DJ Dolla’s “2.22FM” EP is a vibrant testament to the energy and diversity of Baltimore club music. Dolla opens the EP with a dynamic remix of A Tribe Called Quest’s “Scenario,” setting the tone for the lively and deeply talented cohort of collaborators that follow.

DJ Dolla, who started DJing with a controller gifted by his girlfriend, has become an undeniable force in the Baltimore music scene. His Dolla Sto Parties at venues like Phlote and 1722 have become legendary.

The EP features a wealth of familiar faces from the Baltimore music scene. “Drop It Low for Jesus,” a hilarious and infectious club track with a traditional hook — “drop it low for Jesus, in the club” — was co-produced by DJ Beast. The drum-and-bass-infused flip of Doja Cat’s “Agora Hills” showcases the talents of Tromac, and the entire project was expertly mastered by Kade Young. 

DJ Dolla emphasized, via email, that “2.22FM” is best experienced in its intended order. In a digital age dominated by streaming, TikTok virality, and fleeting soundbites, this directive serves as a welcome reminder of the artist’s intention and the artful construction of a musical project.

Following a raucous New Year’s Eve DJ set at Royal Blue (where he played alongside Cash.liss and Jourdan) that kicked off 2025, it’s clear that Dolla’s passion for music, particularly club music in all its forms — from juke to Baltimore club — is boundless. This EP, like his energetic live sets, showcases the expansive possibilities of the genre. Compiled from six club remixes created over the past six months, “2.22FM” further solidifies Dolla’s status as an exceptional producer and DJ.

As Dolla himself proclaims, “Shoutout Baltimore! Shoutout club music!” (Teri Henderson)

Buy “2.22FM” on Bandcamp for only $2.22 (you can also pay more). Follow Dolla on IG.

Megazillion, “Don’t Get Sick/Clout”

When Baltimore punk band Megazillion released their double single “Don’t Get Sick/Clout” back in November, they couldn’t have possibly imagined that three weeks later, the murder of United Healthcare CEO Brian Thompson would take place, sparking widespread conversation about the vicious and predatory American health care system. “Don’t Get Sick” speaks to exactly that:

don’t get sick

don’t check that lump

just bet your life

another body to the dump

The 42-second song delivers the message with morbidly sarcastic quickness and is followed by the power-packed “Clout,” a song about the current lack of quality in almost everything as clout has become a more valuable commodity than friendship or love. 

If you’re a fan of much-needed unapologetic, socially conscious music, check out these great tunes from the self-proclaimed “wild punks.” (Eze Jackson)

Buy “Don’t Get Sick/Clout” on Bandcamp for only $2 (you can also pay more). Follow Megazillion on IG

Giant Wave, “Part of Me”

Giant Wave’s “Part of Me” is a shimmering, dreamlike single that pairs evocative visuals with introspective lyrics. The music video, shot on an iPhone in late summer and early fall 2024, is an experimental travelogue, expertly embellished with animations by Brendon Sullivan. It seamlessly blends familiar Baltimore scenes, like the purple-hued lights of Current Space’s Garden Bar and Charles Village porches, with evocative shots of deserts and mountains, creating a captivating visual journey.

“Part of Me” is the first single from Giant Wave’s debut full-length album, “Year of Space,” a multi-genre experimental project led by William Rockwell Ryerson.

Ryerson is a Montana-based musician with deep roots in Baltimore’s DIY scene. He has contributed to bands like Other Colors, Chiffon and Outer Spaces, and his solo work on Bandcamp showcases a wide range of styles, from ambient synth to experimental pop.

Ryerson’s vocals, with their steadily delicate and almost whispered quality, serve as an inviting introduction to the textured soundscapes of “Part of Me.” The introspective lyrics, such as “Part of me is closed to function, Ready for the next thing on my list,” are woven into the music’s fabric, creating a sense of both vulnerability and anticipation. The layered melodies create a hazy, ethereal soundscape, with Ryerson’s vocals weaving in and out of the instrumental textures. The song builds with a gentle, driving rhythm, as guitars and keyboards create a warm, enveloping atmosphere. The song’s melancholic beauty is both comforting and cathartic, a perfect soundtrack for those yearning moments, and evokes the feeling of a perfect Baltimore summer day. (I recommend you listen to it anytime you feel the last tugs of seasonal depression pull at your heartstrings.)

This marks Ryerson’s first full-length release since 2016. “Year of Space,” created in studios in Baltimore and Billings, Montana, is an ambitious collaborative effort featuring a diverse cast of Baltimore-based musicians, including the rising experimental hip-hop duo Infinity Knives + Brian Ennals, shoegaze band Jupiter Rex, and members of the new-music collective Mind on Fire.

And although Ryerson has relocated to Montana, he frequently returns to Baltimore to perform with collaborators like Chiffon (with Amy Reid and Chase O’Hara). You can catch Ryerson with Chiffon on Thursday, March 13, at Royal Blue.“Year of Space” is set for release on June 1, 2025, via North Pole Records. Don’t miss the chance to experience “Part of Me” and preorder “Year of Space” on Bandcamp today, available in digital, vinyl, cassette, and CD formats. (Long live print media!) (Teri Henderson)

Knika, “It’s My Body”

Baltimore entertainer and arts activist Knika is climbing some charts with a timely anthem. “It’s My Body” is a social justice song about bodily autonomy, climate change, gun violence and the right to vote. The song placed number 6 on Amazon.com’s “Movers & Shakers” list and 28 on Pop Vortex iTunes Top 100 Pop songs list. Both the original version and the remix are infectious dance tunes that fit perfectly on a gym workout playlist. Why not work out your mind and body with affirmations of self-worth and protest? (Eze Jackson)

We hope you enjoyed reading this first edition of Best Beats. Send your music (or your friends’ music) for a chance to be reviewed: music@baltimorebeat.com.  

The post Best Beats: March 2025 appeared first on Baltimore Beat.

Shortly after the COVID-19 lockdown was lifted, I went to Keystone Korner for the first time. My classmate Noah invited me to see a show with legendary jazz vibraphonist Roy Ayers. It was a special night in October of 2020. Everyone was on edge being around each other in public, but we all wore our masks. It was one of the first times I remember being out and enjoying live music with others. It felt familiar and hopeful. Seeing Ayers perform, and hearing the notes of “Searching,” gave me enough fuel to move through the next week. 

Jazz is a distinctly Black American modern tradition, and Baltimore City has one of the preeminent jazz clubs in the world. Keystone Korner offers a unique and intimate live music experience. The Harbor East jazz club has been integral to the city’s cultural landscape since 2019. 

It attracts both seasoned jazz enthusiasts and neophytes with its authentic atmosphere and diverse offerings, including jam sessions and performances by national legends like Ayers and avant-garde jazz alto saxophone great Marshall Allen. Despite the romantic setting and decor, Keystone Korner welcomes individuals seeking a solitary musical experience as well. It provides a space for creative individuals to gather and experience the unique musical genre.

Founder Todd Barkan, a Columbus, Ohio, native, is the driving force behind Keystone Korner.  His own journey in music began at a young age, influenced by his parents’ diverse record collection and the mentorship of jazz multi-instrumentalist Rahsaan Roland Kirk. Released in 1974, Kirk’s live “Bright Moments” album features a young Barkan on tambourine and synthesizer. 

Barkan was also a friend of the late jazz guitar legend Russell Malone. He recalls his first meeting with the Georgia native artist, known for working with musicians like Diana Krall and Harry Connick Jr.

“He was gracious and humble, a true master of his craft,” Barkan told Baltimore Beat. 

Malone, alongside jazz bassist Ron Carter and composer and pianist Donald Vega, graced the stage for Keystone Korner’s grand opening on April 30, 2019, which also happened to be International Jazz Day.

The club’s first iteration came to life in San Francisco and was open from 1972 to 1983. Barkan’s goal was to provide the best music in the world at the most affordable price, in the most loving environment. This remains the goal of Keystone Korner Baltimore, where Barkan has joined forces with an all-star culinary team (led by chef Robert Wiedmaier) to make sure that the food is as enticing as the entertainment. 

Keystone Korner hosts its Bright Moments Jazz Jam Sessions on Tuesday nights, offering a unique experience for musicians and audiences to connect through spontaneous jazz improvisation. The sessions happen weekly from around 7 p.m. to 10 p.m. Unlike pre-arranged big band or rehearsed small group jazz performances, these jam sessions are entirely off-the-cuff. Barkan sees them as essential tools for keeping the tradition of great jazz alive in Baltimore, while fostering community.

Led by bassist, composer, and educator Obasi Akoto, the sessions encompass a variety of styles from bebop and post-bop to avant-garde and fusion. Akoto views the weekly jam session as more than just a musical occasion; it’s a social gathering that transcends boundaries and brings people together. Akoto is also a passionate educator, deeply committed to sharing his knowledge and inspiring the next generation of musicians. 

“Jazz is more than just music,” Akoto explains. “It’s a way of life. It teaches discipline, collaboration, and the ability to think on your feet.”

On Tuesdays, Akoto assembles a rotating house band, featuring talented musicians like Lucas Netto on tenor saxophone, Aidan Francia Cotter on piano, and Amin Gumbs on drums. Together, they lay down unrehearsed tunes from the jazz canon, inviting professional and semi-professional musicians to join in the spontaneous creation of a new sound. 

As the night winds down, Barkan, affectionately known as “the Toddzilla,” takes the stage. He sings the club’s theme song (and jam session namesake) “Bright Moments,” a fitting tribute to the spontaneous and joyful spirit filling Keystone Korner.

Late jazz saxophonist and composer Ornette Coleman, the founder of the free jazz movement, once said, “Jazz is the only music in which the same note can be played night after night but differently each time.” You can return to Keystone Korner every Tuesday to hear and feel this musical community, and allow it to carry you into the next week. If jazz is a language, the notes reverberating from the stage at Keystone Korner are the soundtrack for the bright moments that echo in the background of our lives.

Jam sessions are well documented by the venue’s house photographer, the talented Mr. Michael Friedman. If you visit a session, be sure to take a pause to admire his work on the walls — you might see some faces you recognize. If you want to sit in and join, there’s a sign-up sheet next to the stage. Please note that the club recommends that “jazz standards are preferred repertoire and get the best results” to keep the vibes going. Bright Moments Jazz Jam Sessions carve out space for local, national, and international jazz artists to meet up, and heat up. 

This ethos — this mixing of talents from emerging to established, local to international — echoes the spirit of the club in its programming, showcasing internationally lauded acts like Ayers while providing a consistent practice space for rising jazz talents.

 “We’re committed to showcasing the best of the best, but we also want to give emerging artists a chance to shine,” Barkan said. “We’ve created a space where people can connect with each other and with the music. It’s a place where friendships are formed and memories are made.”

“Baltimore has a vibrant jazz scene, and I’m grateful to be a part of it,” Akoto said. His presence at Keystone Korner has enriched the club’s musical offerings and fostered a deeper connection between the club and its patrons. His commitment to education and his passion for sharing his knowledge with aspiring musicians resonate with the club’s mission to preserve and celebrate the legacy of jazz.

As Akoto reflects on his journey and the evolution of jazz, he muses, “Jazz is constantly evolving, but its essence remains the same. It’s about freedom, expression, and the power of music to connect people.” His words echo through the intimate space of Keystone Korner, leaving a lasting impression on those fortunate enough to witness his artistry.

Even amidst the challenges of the COVID-19 pandemic, with other venues shuttering, Keystone Korner has persevered, adapting to restrictions and finding creative ways to keep the music alive. With Akoto as maestro, the club’s legacy is further solidified, ensuring that the soulful sounds of jazz continue to inspire and uplift future generations.

Since its rebirth in Harbor East in 2019, Keystone Korner has quickly become a cornerstone of Baltimore’s jazz community, embodying founder Barkan’s philosophy that “Jazz is more than just music. It’s a feeling, a way of life.” This philosophy permeates every aspect of the club, from its carefully curated programming to its intimate and welcoming atmosphere. Barkan’s diverse background, coupled with the influence of mentors like Kirk, has shaped a unique vision for the club that honors jazz traditions while embracing innovation and improvisation. 

Beyond showcasing established artists, Keystone Korner is committed to nurturing emerging talent, providing a platform for them to share their music and grow as artists — which it accomplishes with every Tuesday night jam session. This commitment extends to educational programs and workshops, fostering a sense of community and ensuring the future of jazz in Baltimore.

Running a jazz club is a labor of love, and Keystone Korner has faced its share of challenges. From navigating licensing hurdles to weathering the impact of the pandemic, the club’s resilience is a testament to its staff’s dedication and its patrons’ unwavering support. “They’re the heart and soul of this place,” Barkan said,” emphasizing the community’s impact on its longevity.

As more cultural institutions disappear, it is crucial to support venues like Keystone Korner that keep the city’s soul alive.

Join the Bright Moments Jazz Jam Session every Tuesday night, or visit the club’s website for upcoming performances by world-class musicians. Keystone Korner is located at 1350 Lancaster Street.

The post Keystone Korner facilitates bright moments appeared first on Baltimore Beat.

Hall of Fame Inductees

Thommy Davis

Maysa

DJ Technics

Tim Trees

Tracy Stafford-Smith

Wayne Davis/The Paradox

Larry Whaddup

Wendel Patrick

DDm

Phil Crump

Tank

Miss Tony (posthumous)

Dukey Man (posthumous)

K Swift Award

Porkchop

Unruly

Ducky Dynamo

Run It Up Jordan 

Mighty Mark

Kai McFly

Buckshot

Neek B

Derrick Ooh Jones Service Award

Grace Love

Artivist of The Year 

DJ Squirrel Wyde

Art Educator of The Year

TSU Terry

Athlete of The Year 

Angel Reese 

Baltimore Excellence Award 

Angel Reese 

Band of The Year

Eat The Cake Band

Barber of The Year 

SlimDaBarber

Battle Rapper of The Year

Apex Tha Genius

Bike Life Award

Undarated Mark

Bookstore of The Year 

Urban Reads 

Business of The Year 

Mogul Printing 

Baltimore’s Best Carry Out

Sunny’s

Chef of The Year 

Chef Rock 

Clothing Boutique of The Year

Classic Consigns by Kys 

Best Clothing Line

Waaah Lifestyle Brand

Comedian of the Year

Jess Hilarious 

Creative of the Year 

Akio Evans

Crown Them Now Award

MUMU FRESH 

Dancer of the Year 

King Q 

DJ of The Year 

Porkchop

Duo of the Year

K Mack & J Funk 

Entrepreneur of the Year 

YG Teck 

Establishment of the Year Award 

Upton Boxing Gym 

Event of the Year

Park Heights Reunion 

Event Curator of the Year

TV Biddy 

Event Host of the Year 

Cue Reckless 

Fashion Designer of the Year

Elena Siri 

Foundation Award 

Unruly 

Genius Award 

Timothy Fletcher 

Graphic Designer of the Year 

RED DESYGNZ

Group of the Year

Down By Law 

Hairstylist of the Year 

Pretty Girl Fun Lab 

Hip Hop Artist of the Year-Female 

2Raww

Hip Hop Artist of the Year-Male 

YG Teck 

House Music Award

DJ Spen

Impact Award 

Ayo Shag and TSU Flash 

Innovator Award 

B 360

Baltimore’s Best Landmark/Attraction 

Graffiti Alley 

Make Up Artist of the Year 

Star Faces 

Manager of the Year

Xtravagant Dad

Media Award 

Bmore Wrap Review 

Movement of the Year

Purple Wallstreet 

Musician of the Year 

Brandon Woody

Best New Artist

Lu Boogie 

Open Mic of the Year 

The Vibe Check 

Organization of the Year 

Ballet After Dark

Photographer of the Year

Tut 

Podcast of the Year 

Bmore4Real

Poet of the Year 

Black Chakra 

Promoter of the Year 

TV Biddy

Producer of the Year

Mighty Mark 

Public Servant of the Year

Grace Love 

Best Radio Show Personality 

Porkchop 

Best Radio Show 

Quicksilva Morning Show

Best Ravens Player

Lamar Jackson 

Renaissance Man of the Year

Akio Evans 

Renaissance Woman of the Year

Rebecca Dupas 

Restaurant of the Year 

Papi Cuisine 

Retail Store of the Year 

City of Gods

Song of the Year 

“Let’s Get It” by Run It Up Jordan 

Special Appreciation Award 

The Floaters

Special Acknowledgment Award

Alvin Gray

Studio of the Year

Compound Studios 

Supporter of the Year

Charm City Live Music 

Talent to Watch 

Nu Blacc

Tattoo Artist of the Year

Ace Boog

Under the Radar Award

DreamGirlz

Best Underground Release

“Cook’s Lane” by Mook Ali

The Wellness Award 

Do The Bike Thing

Writer/Author of the Year 

Black Chakra

Vendor of the Year 

Raven Crystals 

Venue of the Year

Motor House

Videographer of the Year

Byrd Eyes View 

Visual Artist of the Year 

Megan Lewis 

Vocalist of the Year 

Davon Fleming

Youth Artist of the Year 

Lor Xay Xay

Youth Entrepreneur of the Year

Nyame Fatiu

The post 2024 Baltimore Crown Award Winners. appeared first on Baltimore Beat.