Baldwin, perhaps best known for his regular gig as bassist in experimental Brooklyn rockers Dirty Projectors, brings a similar sense of exploration to his solo recordings. But where the Projectors favor a dense sound, stitching together instruments into ornate, mini-symphonies, Baldwin's material tends to be comparatively pared-down, built largely around his elastic voice and his similarly rubbery standup bass work.

Baldwin, perhaps best known for his regular gig as bassist in experimental Brooklyn rockers Dirty Projectors, brings a similar sense of exploration to his solo recordings. But where the Projectors favor a dense sound, stitching together instruments into ornate, mini-symphonies, Baldwin's material tends to be comparatively pared-down, built largely around his elastic voice and his similarly rubbery standup bass work.

It's a stripped-down presentation that should fare well in Rockmill's cozy confines - an intimate setting where his pliable falsetto should pack an even heftier punch.

Holler Boys open the show.

Photo courtesy of Nat Baldwin