Brooklyn v. Baltimore at 1896

Friday night’s Brooklyn vs. Baltimore concert at 1896 Studios in Bushwick drew a crowd of all-ages fans who were eager to participate in the latest brainchild from indie icons Dan Deacon and Todd P. The evening’s main event was a mock music battle between bands hailing from Brooklyn and those based out of Baltimore. But regardless of the quasi-competitive spirit, the end result was a playful showcase for the independent music scenes of both cities – which have each fostered distinctive talent in recent years. Brooklyn vs. Baltimore also served as a testament to the reputation and success of Todd P (a.k.a. Todd Patrick), the Brooklyn-based party host who many look to as a harbinger of up-and-coming musical acts.

The first band on stage was Vivian Girls, and the trio served as special guests after Brooklyn’s Blank Dogs had to cancel. They’re known for their stripped down, monotone, mid-‘90’s alterna-punk sensibilities, which were at their best on stage at the 1896. Vivian Girls were followed by Baltimore’s DJ Dog Dick, who was barely visible on stage but still managed to generate a solid set of dancey electro-pop. After that it was Woods’ turn, and the much-hyped Brooklyn group discharged a distilled blend of garage and psych rock.

Todd P intermittently grabbed the mic, assuming the role of both MC and babysitter. He insisted on keeping the audience members orderly, and after all, it’s this dedication to semi-regulation that has proven crucial for his events. Todd P’s promotions have flourished for the past seven years because he maintains a symbiosis between order and chaos, and cultivates relationships with spaces that otherwise wouldn’t host such raucous events. Amid the somewhat haphazard planning (fans were kept outside for nearly 40 minutes prior to the show, the venue was changed last-minute from Danbro Studios, bathrooms were, well, porta-potties) the hosts executed the music marathon as well as could have been expected.

Several hundred people packed the 1896 by the time Future Islands began playing. Their set was highlighted by singer Sam Herring’s theatrics and growling vocals, which got the crowd moving and dancing. By contrast, Bed-Stuy’s USAISAMONSTER took people by storm with their signature synth-metal sound – and their peculiar look.

The final acts of the evening were the biggest from both cities. Brooklyn’s These Are Powers played tracks from their forthcoming LP, while Baltimore’s team churned out highly anticipated performances from Double Dagger and Dan Deacon. Deacon is renowned for his rambunctious live acts that demand a unique brand of audience participation. The case was no different at Brooklyn vs. Baltimore, as Deacon frolicked through the crowd, playing with lights and lasers while being embraced by fans dressed in full-body animal suits.

Brooklyn vs. Baltimore perfectly demonstrated the ever-expanding scope and accessibility of the “Brooklyn Scene,” a term that, to some, might seem inaccurate or contrived. Still, a $3 cover to see six hours worth of live music (and four favorite groups from Brooklyn) is pretty impressive, even if it’s mired with a sense of ad-hoc planning.

Making DIY, guerilla-style concerts or parties of this salience is unattainable in most cities, let alone in other boroughs. In the Williamsburg/Greenpoint/Bushwick triangle the cultural and artistic sphere continues to nurture these events, which no longer draw only Brooklyn residents, but fans from the tri-state area and beyond. With patriarchs like Todd P tirelessly generating a litany of new bands and unheard-of venue spaces, community-based artists and musicians have retained a strong momentum. In that sense, Friday night certainly represented another victory for Brooklyn.