Main Street Music Fest was originally created in the same vein of SXSW, but with a focus on homegrown talent. Over the last 5 years, the festival has stayed true to this approach, highlighting the strong and diverse talent pool the Maryland music scene offers. Here are 10 of this years performers that will showcase the strength of the local music scene, check out some of their recent videos as well.
9 Mile Roots (Tiber Park Stage, 3:00PM-3:30PM) have been steadily releasing new music, with even more to come. They are a staple of the East Coast reggae scene, with a big live sound that makes them mainstays of the summer club scene on the Eastern Shore. “Feel” https://www.youtube.com/watch?v=fasQ-fFI35s
Things are going to be much calmer than usual today. And for good reason, too.
Hello readers of SurfRhythm, Henry here, bringing another review for you to read. A little while ago, I received a request from a friend to check out another talent who has an album released. Thinking this was going to be what I usually hear at the local venues, I prepared myself for another review of good local work. But this was something far different than I have heard in a while. Even my tone as an author while writing my thoughts feels relaxed.
That something is the album “In Pizza We Crust” by Gingerwolf.
27 year old Thomas Beall, more popularly known as Gingerwolf to the music community, hails from outside Annapolis and is a regular in the local scene. Accompanied by his collection of quirky hats, and more importantly, his lap steel guitar, Thom takes influence from artists and groups like Pedro the Lion, Kaki King, Dismemberment Plan, Pearl Jam, Sixpence None the Richer, Deaf Scene, and compilations of traditional Hawaiian music. The culmination of his inspiration and talent flows through in his performances, and he truly does a good job in the niche that he has carved himself. In 2008, Thom started making music as The Triceratops, but changed to Cole Cash, and now appears as the artist on the album, Gingerwolf. Not a stranger to professional production either, he played on records by Sawmpcandy, Pompeii Graffiti, Kavoossi, Skribe, and Alexander Peters 2015, and the forthcoming solo debut from Jimi Davies of Jimmie’s Chicken Shack. Obviously a man about town, you can check Thom out every week at different venues.
Now that you know a little more about the man behind the wolf, here is the review:
Smooth ocean waves.
Honestly, I could just stop right there. Centered around lap steel and classified by the man behind the album as “Hawaiian space jazz,” “In Pizza We Crust,” is a fully instrumental album that puts off one of the more calming presences that I have ever reviewed for SR. Don’t let the comedic title fool you, this is a great album for both our surf-oriented friends and anyone looking to unplug and recharge. While the instrumentation changes throughout the different songs, the mood stays the same: like waves of lap steel centered around folk rock and a little bit of alternative style rhythm.
“Pizza” is very similar to a lot of the other local albums I have been able to check out, but not in the way that one would think. While it is sonically different from what I am used to, it brings both another great way to disconnect from the pop structures that dominate the airwaves, and another great local style to the forefront. Thanks to the lush soundscape, expert playing, and great production, this album brings the sensation of a tide taking over the senses and giving in to zone of relaxation with a folk based rhythmic background. While this is probably not something you would want to listen to in order to pump yourself up before the gym or a night at a dance club, this album was not made to do so. This is lap steel with moving instrumentation, and it succeeds in the delivering the sonic message that Thom wants to convey.
In short, this another successful album that adds to the many great local works available more readily than you could imagine. If you are a fan of music in general and for something not so in your face, I would check out “In Pizza We Crust” a try. Released in December of 2015, available on streaming music, and ready for a listen, I’m giving this a favorable review and definitely recommending it to our readers.
Thanks again for stopping by, and I hope you like it.
“In Pizza We Crust” Track Listing:
I See You Still
Broken Records Lose Their Meanings
Chili, Sweet Monarch
Showers Over Seattle
Thomas Beall – Weissenborn, Acoustic, Electric, and Steel Guitars, Bass, Drums, Percussion, Laser gun
Erin Snedecor – Cello
Rory Brennan – Drums
Aaron Lahey – Bass
Marcus Turner – Drums
Mark Mossey – Trumpet
Adam Narimatsu – Keys
Justin Cary – Double bass
“In Pizza We Crust” was produced by Thom Beall and Collin Dunn at Hudson St. Sound in Annapolis, mixed by Steve Wright at Wrightway Studios in Baltimore, MD, and mastered by TW Walsh in Boston, MA.
“I hope you weren’t planning on taking any drug tests soon, because you sure as hell won’t pass!”
On Thursday, July 16th, I was able to see Slightly Stoopid with the Dirty Heads play at the Pier Six Pavilion in Baltimore, Maryland. Continuing my efforts towards catching big local shows, something that was on a tiny bit of a break, I was very excited to see my first, real, big venue surf reggae show, and it paid off. Playing at the Pier Six Pavilion across the Inner Harbor from the Aquarium, I don’t think there could be any better venues for a show like this, save a California beach that each one of these groups is all too familiar with.
Before I physically got into the concert, I was notified by the beneficiary who was able to get me the tickets that I should be on the lookout for a very awesome energy. Slightly Stoopid and the Dirty Heads, despite the slightly similar geographic influence and paths to stardom, have never toured together. This was the first time that most, if not everyone in the area would have been able to see both bands playing together on the same bill. It was apparent from my first steps in that the energy my boss spoke about was already rising. One could even argue that the energy was… high.
The first thing I noticed getting in was how pretty the physical backdrop of the concert was. A beautiful day on the Inner Harbor set the scene for youthful festivity. It seemed hard to believe that this same city, beaming in the summer sun, was tearing itself apart at the seams and burning itself to the ground only a few months ago. Everything felt safe. Security guards joined in with the elevated fun that swept over the crowd like a haze. The overwhelming presence of youth at this concert, with the majority of audience members looking like they be anywhere from high school to college aged, was another very different energy that I had never felt before on such a wide scale.
While the absence of locally brewed National Bohemian was apparent and missed, the setup for the night was fine. Crowds on the lawn and in the seated areas with two easy access points made the trip in a walk in the park, all the while being able to look out and enjoy your time on the water.
Kicking the night off was The Expendables, based out of Santa Cruz, California. Considered a reggae rock band, I was able to hear more influences than just basic reggae and rock. Noted, it was classic surf reggae, but the heavier based distortion coming through the guitars and out the amplifiers made for a very special tone that accompanied the rhythmic beats. While too much being tied together could give anyone a headache, The Expendables were able to put it together. Playing hits such as “Down Down Down”, “Sacrifice”, and “Bowl for Two”, a definite crowd favorite, The Expendables were able to kick off the night with high energy. Almost too high. For the time of day with the sun shining down, pretty much ruining any chance at stage lighting, this band was seriously ready to amp it up. And I personally do not think that the crowd was ready be so amped up quite that much.
Combining the efforts of two guitars, a bass, and drum kit, this high octane set was not willing to let any sound go unnoticed, from what seemed to be heavy metal shredding to an island jam. This kind of “island shredding” was technically very cool. But, the surrounding atmosphere may not have been the best for it. If you are into party rock, I would highly advise to check out some of their work around the internet. But this group definitely seemed much more primed to play a darker, closer to night time, arena, or even big bar gig. While their music was not bad at all, I think that some liberties could have been taken by the group to play more in the mood. I am not defending having different sounding opening acts by any means. For example, without Van Halen completely blowing Black Sabbath off the stage every night they opened for them back in the late 70’s, would they have been so big, so quickly? While that discussion may be for another article, I definitely think that keeping up with the reggae hits that The Expendables did so well to begin with, as well as being able to keep the crowd going with, would have made for an even better opening than the one they had.
The second group of the night was none other than The Dirty Heads. Another reggae – rock fusion band coming from Huntington Beach, with the current line up being active members since 2003, there is not much to say other than these guys absolutely killed it. With the sun beginning to set to allow the light show to kick in as well as even more people filling in to begin the festivities, this was definitely a notable point in the night in which the music matched the mood masterfully. Playing songs like “Lay Me Down” and my new personal favorite for the night, “Medusa”, The Dirty Heads were able to pump some amazing jams and blow the collective minds of the audience. With a great crowd energy, I can safely say that I will be catching these guys if they come around again. Big venue, small venue, they put on a great show.
At this point in time, I feel it is only appropriate to talk about one of the most memorable observations I was able to take away from this specific show.
I have never seen so much weed being smoked in one place, at one time, as I did that night.
There must have been a piece of something for every four or five people that were in attendance, all of which had to have been snuck in. And that absolutely did not go unnoticed by the performers on stage. It’s like the bands were amping all of the herbal based debauchery up, making people go even crazier than they would already. I think I should probably be pleading the fifth on this whole topic, but it is just too good not to bring up. It was clear that for every four or five people attending, there was something to go around. Even some security guards were getting in on the action. I thought that the guy vomiting at the Skynyrd show I saw earlier in the summer was funny, but the security guard trying to hit something way too aggressively while crouched in the middle of a circle of people? Easily topped that sight.
By the end of The Dirty Heads’ set, as the sun was setting into darkness, the haze that had spread over the crowd meant everyone was ready for one thing – for the highest (get it?) billed group to begin their performance. Pre gaming the crowd with 90’s hip hop accompanied with a modern bass, presumably from one of the musicians in the band, it was very clear that people, including myself, were ready to party. I don’t think anyone could have come up with anything better than playing early rap, such as 2Pac’s “California Love”, to get the final leg of the party started. With a great crowd energy and who knows how many musicians, from guitarists, bassists, singers, percussionists, keyboard players, and most importantly the horn section, coming on and off, joining the jam, Slightly Stoopid, the top billed performers of the night, played a great set. With every song’s melodic and rhythmic structure blending in almost feeling like one big jam, the waves of music pouring over the crowd made for a great Thursday night concert on the water.
Based out of Ocean Beach in San Diego, Slightly Stoopid, along with the rest of the groups for that matter, were able to bring the California state of mind to the East Coast. From the use of reggae, to rock, to ska, and anything else in between, the combination of party music and the youthful atmosphere for a nice night. It’s no secret that I want to end up in that area before I die. I talk about it all the time. The seemingly biggest center of industry for hard rock and surf reggae alike and everything in between, the West Coast seems like one of the places to be right now. Gigs like this are instrumental into bringing that California soul out of the one place where it comes from, and the one place that is incidentally, running out of water.
All in all, another great night. I consider myself a pretty lucky guy, but being able to go to events like these, party to great music, and meeting awesome people, is making this summer one I will remember. Personal quips aside, anyone looking for a great time with big time surf reggae music this summer is doing a disservice to themselves by not catching this tour. Seeing big concerts like this is always a pleasure, and with the tour only going until September, the opportunities to catch the one band second only to the progenitors of this whole genre, Sublime, accompanied by other hands down, amazing acts, is going quickly.
Coincidentally, the show they play in Colorado is already completely sold out. One could only imagine why.
This week on Local Waves, I decided to take yet another different route towards covering local artists who might not get as much of an opportunity to be heard as much as some of the big guns. Suggested by a Montauk Music follower, I found myself not only in contact with our latest local wave, but impressed by her story. With hard work comes success, and it is clear that this young artist is putting in her dues now in order to further herself as much as possible for the future.
Karlie Bartholomew, a Baltimore local, has been doing what she loves from a very young age. After realizing the desire to turn in into a full time career, Ms. Bartholomew left what could be a comfortable position to some, to a path towards her dreams. While she may not be able to drop some of the big names that other, more experienced local waves have shared, her story sheds a light on a just as important topic that anyone in the industry can relate to: the very beginning. It is, after all, a very good place to start.
Henry Pazaryna: So I have been doing interviews of local artists and their experiences around the area. Would you mind telling me a little bit about yourself, and what you are doing?
Karlie Bartholomew: Sure! I’m a singer – songwriter based primarily out of the Baltimore area, but I play shows in various other areas such as Annapolis and Frederick. I have been writing songs and singing from a very young age, but began to take it seriously about three years ago. My first year of college, I attended Hood College in Frederick with plans on majoring in journalism. While I was there, I was in every single one of the music groups I could possibly be in. Somewhere along the line I realized that I didn’t want to major in journalism and wanted to do music for the rest of my life. After that, I spent the next year at home going to community college, playing shows at venues, like Rams Head Live, Soundstage, and Ottobar, and planning on transferring to Berklee College of Music in Boston. So this past year was my first year there and I’ve been working on developing my own style of music and learning music theory for the first time in my life. I’m just trying everything out there and playing with different people and it’s really given me a whole new perspective of music. Aside from working on my own music, I joined a band called Shah with some friends and play the banjo-guitar. Now I’m home for the summer and I’m trying to play out as much as I can, whether it be an open mic or a paying gig, because I really just want to meet people
HP: Most of the people I have interviewed are a little more established within the music community. As a student and the interviewee closest to my age, what is playing at all of the open mics like? What goes through your mind?
KB: It was honestly a little scary for me at first because I’m normally one of the youngest people at these open mics and a lot of people have been playing at them for awhile so everyone kind of knows each other. I’ve met so many great people just doing open mics, though. My dad always goes with me to them and afterwards we kind of talk through my performance and things I’ve could’ve done better, etc. It’s a great way to become comfortable, practice performing, and learn how to work an audience and determine what songs they like and don’t like. I think of it as practice for the real thing.
HP: Totally understandable. You are also the first girl I have interviewed, and I am happy I am getting the chance to do so. Do you feel any kind of pressure regarding gender in the industry that you have experienced so far?
KB: Most definitely. I feel a lot of pressure to be your typical pop star. I had a private audition for the show the Voice about two years ago and I went in wearing a plain t-shirt and old boots and I played the “A-Team” by Ed Sheeran. The producer said he really liked me, but he wanted me to play more pop-style songs and dress more according to the style. Well, a couple months later they invited me to audition again for them. This time I went in wearing huge red high heels and played a popular song I hated and completely messed up the audition because it just didn’t feel right at all. It just wasn’t who I am. I want to be authentic and I want the same thing for my music.
HP: I don’t think I could ever fully comprehend the scope of something like that, to that extent. And not just with women, but with minorities too. Good for you for sticking to your guns. It does seem so much harder for a female artist to try to make it on the scene. So you said you wanted to go to Berklee. Is that happening? What is going on with that?
KB: It can be pretty frustrating at times. Yes! I just finished up my first year there. I should be graduating this next year, but some things got weird with transferring so I’ll be there with another two years. It’s absolutely incredible. There is a like-mindedness there that I have never experienced before. The teachers there are so inspiring and will go out of their way to help you. A lot of them want to get to know you on a personal level as well. The whole Berklee community is incredible. Over spring break, I took a trip with Berklee to Nashville and met so many different alumni who just want to help you as much as they can.
HP: Great to hear. As a transfer student who had a pretty smooth transition myself, it sucks that all of that happened. The connection making is really important, and it sounds like you are killing it on that front. While this may be a short time away, what are your aspirations, post college? Will you stay in the northeast, or try to hit Nashville or LA, or even stay local?
KB: I really want to move to Nashville. I absolutely love the city and I think my music would do well there. I’m still trying to figure everything out, but I really want to perform and eventually tour. I also want to work as a recording artist.
HP: I have heard a lot of great things about Nashville. Seems like a really happening spot. Do you feel like your genre would fit well there? Speaking of which, what would you consider your style to be? Would you be willing to expand on that?
KB: Yes, I think it would. There’s a lot of country there, but there are tons of other music happening as well. My style is more of an acoustic sound so I think that’s why it would fit well. My music has tons of different influences such as R&B, jazz, folk, and pop. I normally just say pop because that genre isn’t really just one specific sound. I have a lot of influence from artists like Tori Kelly, Ingrid Michaelson, Colbie Caillat, Kina Grannis, Ed Sheeran and Ella Fitzgerald (to name a few) and I feel like you can definitely hear that in my music.
HP: So finishing up: where are some places we can hear more from you? Do you have anything on the internet or any kind of set performance schedule?
KB: My main website is www.karliemusic.com, but you can search Karlie Bartholomew on Facebook, Twitter, and Instagram and find me there. My next shows are August 20th at Peace and a Cup of Joe in Baltimore at 9pm and August 21st at Frederick Coffee Company in Frederick at 7pm.
SurfRhythm wants to thank Karlie one more time for the effort she put in towards catching up with us. Find out more about Karlie online through her website and various forms of social media, all links shown above and below. If you are around, definitely show some support to a local artist at the end of August, and be sure to check back in soon for the next installment of Local Waves. Catch you soon.