Welcome to Baldwin's Station

Baldwin's is the place for good music, good friends & good food

All ticket sales are final. No refunds or exchanges. $2.00 service charge per ticket on all credit card orders and $1.00 per ticket on cash or checks. Due to limited seating, advance tickets are recommended. Sorry, we do not accept unpaid reservations. The concert room opens for seating at 6:30pm. Due to the nature of this business, shows are subject to change. Please call to confirm, 410-795-1041.

Long before there was a computer on every desk, Seamus Kennedy was providing "interactive entertainment" to delighted audiences from one end of the country to another. He is quick with a quip and likes nothing better than to discover someone in the audience who is similarly inclined. He makes it all seem so effortless that it is easy to miss that he is a superb instrumentalist with an apparently infinite repertoire. The depth of his musicality allows him to tailor his show to the audience before him, whether it be children, families or adults. Originally from Belfast in Northern Ireland, Seamus sings the music of his native land with emotion born of knowing its history firsthand. But he is far from simply a singer of Celtic songs. Fast-paced humor is very much a part of what Seamus does, whether he's telling a series of rapid-fire jokes or launching into a lyrical parody. He will segue seamlessly from an Irish ballad about a dying town to a rollicking reel and then move into American music, equally at home with folk, pop, country or traditional. Throughout it all, he is having such a grand time that you can't help but want to join in. "...a wonderfully entertaining Irishman with a happy-to-see-you smile that could light up the sky...a captivating performance." ~ Anchorage Times.

IONA's latest CD – Mid-Winter Light. The first IONA album to include fiddler Jim Queen and dancer Kathleen Larrick (who both also sing) joining Barbara Ryan (vocals, bouzouki & bodhran), Bernard Argent (flute, whistles, doumbek & vocals), and Chuck Lawhorn (bass guitars & vocals). Mid-Winter Light is an EP of Celtic seasonal music, from Ireland, Scotland, Cornwall, the Isle of Man and even England!
IONA's music is a unique, acoustic weave of the traditional music of Scotland, Ireland, Wales, Cornwall, Brittany (France), the Isle of Man, Asturies and Galicia (Spain), as well as their transplants in America. Blending songs, dance tunes, and Aires into a rich and stunning tapestry, their style is outstanding in an arena where these traditions are seldom intertwined. Conceived in 1986, IONA was the musical offspring of lead singer, bouzouki, guitar and bodhrán player Barbara Ryan and wind section, Bernard Argent. With fiddlers Jim Queen (banjo and vocals as well) and bass guitar player Chuck Lawhorn, IONA has become the leading Celtic group in the Mid-Atlantic region. An IONA show is known for Traditional Celtic Material, The haunting songs, toe tapping dances and the humor of the Celtic peoples from Scotland to Brittany provide IONA with an incredibly varied repertoire including original acoustic arrangements. All the members of the band play several instruments, often switching within a piece to achieve their unique sound. They weave tunes from different countries around their songs, pursuing complex rhythms with deft professionalism. A lively entertaining presentation above all, IONA's performances are FUN! Barbara's vocals have been described as "smooth and sweet as dark honey." Bernard Argent is IONA's charming historian and yarn spinner. Chuck Lawhorn (bass guitar) not only owns just about every bass guitar conceived by mankind, but plays them all expertly. Jim Queen comes to IONA as a veteran of 30 years performing with the Air Force Band.

Mama's Black Sheep is a power pop duo full of life, love, fun & energy. This musical collision of singer-songwriters Ashland Miller (guitar/vocals) & Laura Cerulli (drums/vocals) effortlessly erases boundaries between the genres of pop, rock, country & blues creating an atmosphere of hand-clappin, foot-stompin congregational good times. With a casual demeanor onstage, these ladies will make you feel like you’ve known them and their music for years, and perhaps you have, as they are both veterans of the singer-songwriter circuit. They will make you laugh, cry, and sometimes even watch in disbelief wondering how two musicians can create a sound rich enough to make you think you’re listening to a full band.
When Southern-born Ashland Miller puts a pen to paper, and an acoustic guitar on her knee, her passionate voice unleashes songs that leave listeners begging for more. Ashland toured for thirteen years as part of the award-winning acoustic duo Commonbond, releasing six CD's and performing in over forty American states and overseas. Using her experiences on the road to pen a catalog of songs that saw fans singing along from city to city, Ashland's songwriting, harmonies, and creative musical arrangements have been shared on stages with talent such as John Mayer, Kyler England, Ritchie Havens, Catie Curtis, and Sophie B. Hawkins.
Laura Cerulli is a true professional in every sense of the word. With over fifteen years of experience in the music business she is a seasoned player both live and in the studio. From 2000-2005 Laura fronted her own band, Cerulean Groove, playing mainly in MD, DC and VA. Since 2005 Laura has been touring nationally and internationally as a member of SONiA & disappear fear. Laura’s distinctive style has been seen on stages from The Kerrville Folk Festival (TX), to The Barns at Wolftrap (VA), to High Sierra Music Festival (CA), to The Red Roof Women’s Festival (Ontario), and even "down under" at Woodford Folk Festival (AUS). Laura also keeps busy doing session work and gigs with other artists. Eager to keep her own music alive, Mama’s Black Sheep provides Laura the perfect outlet for her introspective writing, bluesy voice, inventive harmonies, and groove driven drumming.
If you take one guitar, a bunch of drums, two amazing voices, a dash of humor, a touch of love, and some outrageously strong musicianship…mix ’em all together…and stir well…..you’ve got the recipe for a great time. From festivals, to clubs, to the most intimate private parties, Mama’s Black Sheep is sure to deliver absolute entertainment for any crowd.

With influences spanning bluegrass and country to jazz, classical, internation folk and classic rock, the Fitzmaurice Band has developed a sound truly its own. Having formed in late 2006 as an outlet for twin sisters Maria and Sarah, along with Brandon Snellings and Mike Simms, to express themselves musically and play a few shows locally, the band began growing in popularity and in March of 2009, Aaron Malone was added on fiddle to complete the lineup. By the late summer of '09 they released an EP which instantly triggered radio play across the country and which has led to an expanded performing area in which they have been wowing audiences throughout Maryland, Virginia, West Virginia, Delaware and Pennsylvania.

The magic that is in this band is rooted in the fact that they are not just band mates, but also the best of friends, and this can clearly be seen on stage. The energy, interplay and synchronicity they possess are characteristic of the most seasoned of bands, and their love for music comes across with perfect clarity, absorbing the audience into their experience and generating a genuine bond between listener and performer.

"When Ken Kolodner plays the hammered dulcimer, something special happens; he makes it sing...inspiring...a tremendous musician..." —Irish Edition

As a major part of the rebirth of the hammered dulcimer in the US, Ken is recognized as one of "one of today's most accomplished, musical hammered dulcimer artists... A hammered dulcimer player of great taste and sophistication," (Elderly). Viewed by many players as one of the most influential player in the United States, Ken is widely known for an expressive and improvisational style and for creative ensemble playing. has been described as "nothing short of astonishing" (The Connection), "outstanding" (The New York Times), "marvelous" (The Washington Post) and "virtuosic" (Audio) and "stunning in its musicality" (Dulcimer Player News) and "not to be missed" (USA TODAY). And Folk Tales Magazine writes, "…without a doubt, Ken Kolodner is one of the hammered dulcimer's top exponents, playing with a dexterity which would stun many a would-be hammerer." His extensive repertoire ranges from traditional music of Ireland, Quebec and Appalachia to music from over 20 countries from around the world. With Helicon (with Chris Norman and Robin Bullock) and Greenfire (with Laura Risk) and in solo performance, with Baltimore as his home base, Ken has toured extensively throughout North America and Europe and has taught at countless festivals and music camps. Adding to his recognition as a hammered player, in more recent years, Ken has become very widely regarded as an accomplished Old-time fiddler.
He has been featured in nationally broadcast concerts on NPR, All Things Considered, German National Radio, on the CBC, and on the Voice of America. His credits include 10 recordings with total sales over 100,000 copies, 5 instructional recordings for hammered dulcimer, one instructional recording for old time fiddle, three books, an Emmy-nominated CBS-TV Christmas special as featured soloist, a 1997 recording with sales of over 50,000 (Walking Stones) which also hit the top of the World Music charts and was a top seller for BMG in their Classical/World Music category, a 2000 recording with Helicon that won an “Indie” for Best Seasonal Recording and a 2005 recording on Maggie's Music called Journey to the Heartland.

U.S. National Scottish Fiddle Champion Elke Baker has played all over North America and in places as far-flung as Japan, West Africa, and Scotland, as well at The Birchmere (with Ken Kolodner) and the Kennedy Center in her hometown of Washington, D.C. Elke is a faculty member at the Washington Conservatory of Music, where she teaches history and performance of Celtic music. She brings a scholar's depth of knowledge and an extremely engaging manner to her performances, as well as an intimate knowledge of just what makes people want to dance. Elke’s new CD, Caledonian Muse (with her Scottish band Terpsichore) features favorite dances married to beautifully crafted medleys to create a feast for the ears as well as the feet. Elke has released two concert recordings to an enthusiastic reception. The Washington Post praised Glenelg for " the rhythmic energy and deep emotions that Baker generates with her bow….Baker's fiddle nearly throws off sparks," while Celtic Beat called Over the Border "a CD of rare delight, precise technical skill, and fulness of soul," and it was featured in the soundtrack of The Boyhood of John Muir, nationally broadcast on PBS television. In addition, Elke's first recording Terpsichore: Scottish Dance Music, with pianist Liz Donaldson, is a classic of the genre and is popular with dancers and listeners around the world.

"Over the last fifteen years we've come to expect only Maura Kennedy's best. "Parade of Echoes" surpasses those great expectations...an extraordinary solo debut"

Mike Jurkovic, FAME (Folk & Acoustic Music Exchange)

The daughter of a professor of English, and the ”musical one” of seven children Maura Kennedy carved out her moments of teenage creative solitude sequestered in a closet, blasting Queen and Kate Bush on headphones, while she read C.S. Lewis and Stephen R. Donaldson. Not given to the hermitic life, she made nocturnal escapes, crawling out of her bedroom window and across the roof of her family’s suburban split-level home, to hit the streets of post-industrial Syracuse, New York, in search of crunching power chords and soaring pop hooks. She found them - and was always the ﬁrstt on the dance ﬂoor - in small clubs where R.E.M. and Squeeze were scrounging gas money for the road, and especially at a dusty used record shop, where she got a job just to spin vinyl all day. She soaked up the Kinks, the Hollies, the Raspberries, and leavened the sweetness with a strong dose of Thompson/Denny era Fairport Convention. In the stainless steel splendor of the Little Gem Diner, the Ramones autographed her Social Security Card. At college, Maura pawned her meal tickets to buy an amp and lived off of her bandmate’s doggie bags. She cracked a couple of ribs in the mosh pit at a Clash show and finally got the music degree. After spending the night in an upstate Greyhound station when she missed the last bus following a Cheap Trick concert, she and some like-minded friends formed a combo and blazed a trail through the Syracuse club scene. And with the breeze off Onondaga Lake at her back, she took off for Austin. It was in Austin that Maura made her bones, and it was there that her stage persona came together: always rocking, always “in the zone,” and always full-on energy. It was also in Austin that she hooked up with Nanci Griffith, and toured the US and the British Isles behind Nanci’s Grammy-winning Other Voices, Other Rooms. Working the road in the acoustic format of roots-pop mavens The Kennedys, her songwriting blossomed, as she began drawing from novels, poetry, and especially from her own dreams. From Largo in L.A. to the Borderline in London, it’s always come back to pop music, with an ever-maturing darker underlay, and for Maura, the road has always led back to New York City. She’s lived in a number of tenements around St. Mark’s Place, many of them hastily converted into makeshift recording studios, and it was in that neighborhood that she conceived the idea of writing a song, and making a master-quality recording, every month for thirteen months. The resultant compilation would be a sort of melodic journal of her emotional seasons. While keeping up a busy schedule of shows and acting gigs, she finished the project in the autumn of 2009.

PARADE OF ECHOES delivers on the power chords and the hooks, but it’s no concoction of pop cotton candy. You may hear traces of her love of Brill Building sheen, but lyrically, Maura doesn’t shrink from the heavy stuff; she deals with depression and obsession, and she doesn’t pray for divine intervention. Shadowy dreamscapes evoke Emily Dickinson, the ’50’s noir of Patsy Cline, and even Shakespeare’s cursed Thane of Cawdor, by way of Don and Phil Everly. “The Thing with Feathers” is dark, almost Gothic in the Victorian sense, but it ultimately powers its way through the shadow to a kind of dark hope, stronger for its admissions of weakness and doubt. “New Way to Live,” like “Some Kind of Life,” expresses a shared secret wish, the longing we all feel sometimes for what might have been, with a chorus that rolls in and out like the surf at Rockaway Beach. “Sun Burns Gold” and “October” play like intimate diary entries. “Chains” and “Just the Rain” deal with love as an uncontrollable force, drawing their pulsating energy from that deep well of power.

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ALL TICKET SALES ARE FINAL. NO REFUNDS OR EXCHANGES. $2.00 SERVICE CHARGE PER TICKET ON ALL CREDIT CARD ORDERS AND $1.00 PER TICKET ON CASH OR CHECKS. Due to limited seating advance tickets are recommended. Sorry, we do NOT accept unpaid reservations. The concert room opens for seating and dining at 6:30 P.M. Due to the nature of this business shows are subject to change. Please call Baldwin’s to confirm, 410-795-1041.

The music at Baldwin’s Station is brought to you by Uptown Concerts, a nonprofit organization affiliated with the NorthAmerican Folk Alliance and dedicated to the preservation and promotion of folk and traditional music. Neither Baldwin’s Station, nor Joyce R. Sica earn any profits from the music presented by Uptown Concerts at Baldwin’s Station. Your tax deductible donations are very needed. Please mail your donation to Uptown Concerts, PO Box 1503, Randallstown, MD 21133, thank you. Joyce R. Sica 410-922-5210.uptownconcerts@aol.com -- www.uptownconcerts.com

Here he comes to save the day! It's that woodland avenger, Robin Hood, and his band of merry men. Watch as Robin pillages the purses of Prince John, and wins the heart of the fair princess, Maid Marian.