For the better part of two decades, Caleb Stine has had a hand in a Baltimore folk-revival that continues to grow. His collaborative and open spirit defines the music, his shows an experience in interconnectedness. Caleb champions other musicians as often as he can, freely talking about the musicians that work beside and around him, jumping onstage to play with anyone and everyone. 

At the Metro Gallery on 1/26/2020, Caleb once more demonstrated his ardent belief in the importance of community and closeness: he jumped onstage to play with both Noble Lake (James Sarsgard) and Small Sur (scions of now-old Baltimore, led by Bob Keal), alternately wielding a violin and an electric guitar.  It’s a seemingly simple thing to play well with others, but it speaks magnitudes to Caleb’s brand of humanism. He embodies lived-in empathy. 

On this night, Caleb played with his band, and as mentioned, invited Noble Lake and Small Sur to share the stage.  As noted multiple times throughout the night, it felt like a “Facebook Memories” show, a kind of revisiting of a time in the not-so-distant past when these artists commonly shared staged (circa 2009). James (Noble Lake) has moved to Portland, Oregon, and Bob (Small Sur) has spent his time sneaking songs from his mind while firmly entrenched in the joys of fatherhood.

The Metro Gallery atmosphere bubbled with a convivial atmosphere, friendliness and familiarity abounding.  Small Sur finished their soundcheck as the crowd shuffled into the room, wandering around to share hellos.  By the time Noble Lake took the stage, the audience had filled, quieting and listening raptly. 

Noble Lake

James took the stage looking – as Caleb would say – a bit like a West Coast Mario, wreathed in red.  For those unfamiliar with his music, he joked that his songs are mostly sad; I’d give Songs:Ohia as something of a sonic and tonal cousin (which is intended as high praise).  He played a handful of songs from across his oeuvre, including a few recent ones from the EP Masters and Journeymen. 

He invited Walker Teret (I think) onstage to play alongside for a few of the newer tunes, as well as inviting Caleb onstage to play the violin. James delivered a choice cover in “Them Dance Hall Girls” by Feaser & DeBolt, a sadder-than-sunset Canadian Baltimore folk song. Or also just perfect.  He ended the set fully a capella, and promised to come out for a few songs with Caleb and the Brakemen. 

Small Sur

I discovered Small Sur at just the wrong time (circa 2014) and never got around to seeing them until this night. I’d later find out they played at Club 603 with Elephant Micah (Joseph O’Connell)  at Club 603, which turned out to be one of the most perfect cosmic comparisons, as each of them bask in metaphors, ambient noise, and stretched-out beauty.  Another – perhaps more familiar –  sonic touchstone could be Bonnie Prince Billy. 

The band builds soundscapes around Bob’s lyrics, expansive and dense, while never taking away from the words themselves.  They played a host of novel songs and a few familiar ones, with “Rays of Light” and “I Will Find My Way” both absorbing me effortlessly.  They rippled through a rangy rendition of Neil Young’s “Razor Love” and a stunning homage in “Wild Geese”.  Their set ended with Caleb stepping in to jam on “Two Mantras” and the band finishing the night with a future favorite, “When the Darkness Falls” (goodness, I want to hear this song again). 

They should head into a studio soon (funding willing – book ‘em or buy their music!) and grace Baltimore once more with a record. 

Caleb Stine and the Brakemen

I wrote extensively about Caleb’s new album released in November, 2019, and the record release show.  I feel a constant need to echo those sentiments as often as I can.

Baltimore’s folk scene would not exist as it is now without Caleb Stine. 

His Brakemen – familiar to any regulars – dialed in and played as beautifully as ever around him, as they delivered a set that alternated from good old rock and roll to country to Americana to touches of everything in between. Caleb classics like “Daniel Boone”, “Handyman”, and “Butter” moved the crowd beautifully, but so too did Caleb’s exhortations to introduce ourselves to someone new.  He jumped off the stage and said “Hello” to the first unfamiliar face he could find, and returned to the set.  Other standouts included “Diver Blues”, “Time I Let It Go” and “Country Music Won’t Kill Ya.” 

Ever-inclusive and collaborative, Caleb invited James from Noble Lake onstage to lead the band through two of his songs, “Rose of the Winds” and “Tony Alphonso Lorraine” (both from Parting Bead), the latter of which resulted in James dancing around the mic as the song came its close.  The band’s penultimate song of the night was a mashing together of “Are You Sure Hank Done It This Way” and a powerful “Will the Circle Be Unbroken”.  The show ended after Caleb invited Andy Stack onstage (Andy played on record with both Noble Lake and Small Sur and is, in his own right, a scion of the scene) to play on a pavement-melting version of “Sweet Jane”. 

They walked offstage, waving and smiling, and the audience mostly stayed in the room, a few of us filtering out right after the music ended.  Community, as always.