Our favorite local music from May

A jazz album inspired by Leonardo da Vinci's "Vitruvian Man." A would-be youth pastor turned indie rocker. A Brockton rapper's salute to "Phineas and Ferb." Our music critics selected genre-blending local artists for this month's new music roundup.

Boston has a wealth of jazz talent, but pianist/composer Kevin Harris always stands out. Whether he’s enhancing bands led by others or creating his own visionary projects, Harris brings both a sharp intellect and a dazzling musical touch. For his new recording, Harris thought about Leonardo da Vinci’s “Vitruvian Man,” which led him to consider other artists who have used balance as a theme in their work.

The opening track, “⽔ Shui (Water),” was inspired by a passage in Henry David Thoreau's “On Walden Pond.” It begins with drummer Neal Smith before Harris and the much-heralded bassist Rufus Reid add their mix of swing and contemplation. “Mirrors” is a musical excursion that reflects upon Frida Kahlo’s double self-portrait “The Two Fridas.” “Urban Waltz” finds the trio ruminating on the Great Migration story of Torchy Brown, a character drawn by pioneering Black cartoonist Jackie Ormes.

On “Hipness,” Harris creates a blues whose modulations were intended to make one of the most familiar jazz forms a bit less comfortable. It’s a good representation of a record that shows how musically pleasing Harris’ endless curiosity can be. — Noah Schaffer

What do you get when you take a youth-pastor-in-training from Texas out of the church and put him to work in the New England indie rock circuit? It’s a question that no one asked, but the answer is here in a self-assured debut EP (out May 28) of songs that bridge Boston and Austin.

After his drastic shift in life plan, Jon Wallis is clearly wondering about his slippery reality. Over four tracks stripped down to their bare essentials, the truth shifts and crumbles. “Arab Spring/Summer breeze,” Wallis croons wryly over a guitar riff that’s drier than the desert on the opener “Mustard Seeds.” In a single couplet, he warns that things are not always as they sound. After all, how could a period of so much unrest have such a relaxing name. On “Bill,” a thick, driving bassline backs Wallis as he slips in and out of an exaggerated Texan accent. He sings about a man who swears, smokes, drinks and pisses where he wants, only to reveal that this braggadocio hides a lonely life.

These questions about authenticity belie a confident and experienced songwriter. For years, Wallis covered country songs for bar patrons and played in bands like Pew Pew and Hereboy. With this new venture, melding basement heavy riffs with western soundtrack guitar licks, he proves he has his own mark to make. — Lukas Harnisch

Jonny Tex celebrates the release of “Mark of Cain” with a concert on Thursday, May 28, at the Lilypad in Cambridge.

Folk/Americana singer-songwriter Nora Meier is out with her first single since the release of her debut album, “Outfield,” in 2024. The Boston-based musician has a profoundly human and confessional style. Dropping May 29, “Bird in Hand” details her insecurities, singing, “I think I’m on to something / I’ll overthink it though.” Meier tackles the uneasy subconscious thoughts many of us have but refuse to put into words. She crafts a vibrant sonic atmosphere with warm vocals, a nostalgic mandolin line and poetic lyricism. The song title “Bird in the Hand” refers to the proverb “A bird in the hand is worth two in the bush.” This means it’s better to hold onto a comfortable certainty than to risk it all for something potentially greater but not guaranteed. Meier asks her lover to “Let go of the bird in the hand” and trust that it’s worth investing in their relationship, even without knowing what the future holds. It’s a simple, romantic plea for someone to break down their walls and let love in.  — Maddie Browning

Nora Meier opens for The Black Feathers on Saturday, May 30, at the Old Sloop Presents in Rockport, Massachusetts.

Brockton continues to be a hotbed of music talent in Massachusetts. I recently got the chance to listen to a new rising voice from the city named Goldman. The title of his new project, “M.I.A,” which stands for “Making It Alone,” is a reflection of his desire to act on his passion for creation. No team? No management? No problem. He’s been dropping singles since the beginning of 2025 to get his current and new listeners ready for this body of work. Melodizing and rapping over samples, pianos and hard drums, it feels and sounds like Goldman has found the sound he wants to represent himself as an artist.

Of the 12 songs on “M.I.A,” “Phineas & Goldman” is the standout. Goldman chooses a very hard-hitting beat to rap and gives a salute to the classic kids’ show “Phineas and Ferb.” I have a hunch he named the song after he made it, given lyrics like “Been that n---a, money over enhanced it. This lifestyle came with its perks./ My brother’s been takin’ advantage, like I know why they scared to put in work,/ n---as snitch on the motion like Candace.” (A reference to Phineas’ older sister.) The song is another nod to the project title, as he is willing to take the risks others won’t, granted he doesn’t blame them for it.

“In A Minute” is another reinforcement of this “making it alone” theme. On the chorus, he repeatedly reminds the listener of the need to have his dreams come true. He also speaks on the double-edged sword that love can be. He displays his vulnerabilities despite the bravado of “M.I.A.” “Hold On Me” describes a love interest that didn’t pan out the way he would have liked. Then, there are traumatic reflections on “So Wrong,” where he recounts a toxic relationship and the feeling of being used for romantic revenge so his interest can get “even steven.” Goldman has a sound that can build an audience and keep them coming back more. I’m excited to see where he goes next. — Noble

When guitarist/producer/songwriter Ko-Mai was growing up in Dorchester, his proximity to green spaces like Franklin Park and the Arnold Arboretum sparked a lifelong interest in the natural world. “Many of the sounds I find myself designing and orchestrating are representative of many of the sounds I hear in nature,” he told WBUR.

His debut EP is a fascinating and heartfelt mixtape-style piece that combines those sounds with a focus on meditation. After working for an extended time on a longer LP, which will be released later this year, Ko-Mai conceived and executed “In-Sense” in just 72 hours, working in his bedroom studio with electronic drummer Ezekiel Freeman-Fanfan, singer and producer Nai Kalbin, and pianist Tae Broadus. The piece bathes the listener in a sound that ranges from twangy ambient tones to Eastern motifs to uplifting alt-soul songs, along with spoken word interludes that capture Ko-Mai and his friends discussing both the challenges and benefits of meditation.

“In-Sense” isn’t just an impressive debut. It’s a record that takes its own rewarding path while whetting the sonic appetite for what Ko-Mai has in his musical future. — Noah Schaffer

Alt-rock band Otis Shanty often ruminates on the chaos of being a 20-something musician and cog in the machine. Their latest dream pop ballad, “For Once,” is a fuzzy, echoing track, reflecting on frontwoman Sadye Bobbette’s struggles with body image. As her partner draws her from across the room, Bobbette cautiously embraces the way they see her. “Can I take it farther/ Maybe each day/ I can try your eyes on/ And love my face,” she sings. As guitars, bass and drums crash in distorting confusion, Bobbette wonders “What would it take for me to love my face.” The music softens and descends as she inches closer to self-acceptance. In a press release, Bobbette said, “I’m trying to strike a balance between faking it until I make it and actually experiencing authentic transformation — especially as it relates to my self-esteem.” — Maddie Browning