Browniex2 Marc Brownstein of the Disco Biscuits, The Heavy Pets, Tasty Vibrations, Ambique, Digital Laundry, Culprit, BootlLoada, PeakFormat, Silent Disco, Lee Ross, Cory Ricardy
ARTS GARAGE: Reverend Peyton’s Big Damn Band
THE PEACH: March ArtWalk, NMSAF Grand Opening
WAR MEMORIAL AUDITORIUM: Thee Phantom and The Illharmonic Orchestra
3/8
RESPECTABLE STREET: La Plegua
MIAMI BEACH BANDSHELL: Callejon Flamenco
CULTURE ROOM: Pigeons Playing Ping Pong x Lotus
ARTS GARAGE: Renegade
TERRA FERMATA: The +Live+ Tribute, The Lovecats – Cure Tribute
3/9
RESOURCE DEPOT: ReFashion Weekend, Fashion by the Pound
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class, ITB
3/10
CULTURE ROOM: Machine Girl, Show Me the Body, LustSickPuppy
ARTS GARAGE: All Arts Open Mic
THE PEACH: Come Paint w Me, Taco Tuesday
3/11
ARSHT CENTER: Rent in Concert
FILLMORE MB: Sticky Fingers
PROPAGANDA: Dirty Bingo
3/12
MIAMI BEACH BANDSHELL: Nu Deco ft Arooj
Aftab & Varijashree Venugopal
ZEY ZEY: Yellow Days
GUANABANAS: Nattali RIze w Minori
THE PEACH: Art Talk @ Fine Art, Live Art + Talk CULTURE ROOM: Mothica, I See Stars, Until I Wake, Diamante
3/13
CHURCHILL’S PUB: Invisible Audio Fest ft Zig-Zag, Android, Deformative, Soceidad Bastarda, Bardø, Lower Receiver, AI Death Calculator, DICE, Cypher
RESPECTABLE STREET: Ordinary Boys
GUANABANAS: Funkin’ Grateful
PROPAGANDA: 80s DANCE PARTY w DJ Brian St.Clair BROWARD CENTER: Gary Gulman
ARTS GARAGE: Red Corvette
3/14
CHURCHILL’S PUB: Invisible Audio Fest ft Morbid Opera, UHU, Drül, Adhesive, NSA, Problem Child, Protozoan, Coffee Stain, Tootsie, 8 Ball, The Icks, Love Canal
MIAMI BEACH BANDSHELL: Ground UP Music Fest RESPECTABLE STREET: Burning Witches, Hellwitch, Faethom
GUANABANAS: Brothers After All – Allman Bros Trib PROPAGANDA: Chasing Stars, Inner, Disorient, Kill Castle ARTS GARAGE: Veronica Swift
3/15
MIAMI BEACH BANDSHELL: Ground UP Music Fest ARSHT CENTER: Whiplash in Concert ARTS GARAGE: The Jimmy Vivino Band
3/16
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class, ITB
3/16-3/20
ARMORY ART CENTER: Spring Fling
3/17
KELLY’S PUB: Kenmujo
ARTS GARAGE: Spoken Word Open
3/18
THE PEACH: Artist Talk & Critique, Play w Clay
3/19
MIAMI BEACH BANDSHELL: North Beach Social
The Garcia Brothers
THE PEACH: Art Talk @ Fine Art, Live Art + Talk
3/19-29
LW PLAYHOUSE: The Effect by Lucy Prebble
3/19-4/12
THE WICK THEATRE: Camelot
3/20
PROPAGANDA: Emily Blaylock Release Party,
The Dewars, Sweet Bronco, Old Loud Car
CHURCHILL’S PUB: Femdom Friday ft Piss Test, Red Flags, Queefs, Wolf Wench & Her Sexy Plague Doctors
GUANABANAS: Nouveaux Honkies
ARTS GARAGE: Selwyn Birchwood Returns
3/21
MIAMI BEACH BANDSHELL: Global Cuba Fest Yusa & Friends
LAS ROSAS MIAMI: CAVITY, Devalued, Prison Warder
FILLMORE MB: Artemas
GUANABANAS: Mike Garulli’s Floating Brains
PROPAGANDA: Kink Night
ARTS GARAGE: Yoko Miwa Trio
3/22
MIAMI BEACH BANDSHELL: Art by the Sea Fest
ARTS GARAGE: Jessica Fichot
3/23
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class, ITB
3/24
MIAMI BEACH BANDSHELL: Beast Mode Trio
THE PEACH: Come Paint w Me, Taco Tuesday
3/25
MIAMI BEACH BANDSHELL: Cymande
PROPAGANDA: Electro Sonic Workshop
FMS CREAMERY: SWEET SESSIONS Big Nance x ShangriLa Collective
3/26
ARMORY ART CENTER: SUPPER
THE PEACH: Art Talk @ Fine Art, Live Art + Talk
3/27
GUANABANAS: Blossomin’ Bone w DDRB
PROPAGANDA: Dyke Fest w Ursa Arcana
ARTS GARAGE: Gafieira Rio Miami – Beleza Pura
3/28
MIAMI BEACH BANDSHELL: moe.
FILLMORE MB: Ralph Barbosa
GUANABANAS: Bryce Allyn Band
CHURCHILLS PUB: Vibesfest: All Banshees Scream Together
PROPAGANDA: Dyke Fest w Tonque Tied
ARTS GARAGE: Carlise Guy & The NuBlu Band
REVELRY: The Lovecats – Cure Tribute
BANYAN LIVE: Beeline, Day Lily, Rohna, Longwood Street
CULTURAL COUNCIL PBC: Gathering in Care: Death Café
3/29
ARTS GARAGE: Broadway & All That Jazz George Bugatti!
3/30
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class, ITB
3/31
BROWARD CENTER: Alan Parsons Live Project THE PEACH: Come Paint w Me, Taco Tuesday
GARY NUMAN
by david rolland
Cars have always inspired rock and pop songs, from “Rocket 88” — often credited as the first rock ’n’ roll song — on through The Beatles, The Beach Boys, and Prince. But no song might be as closely associated with the automobile as Gary Numan’s “Cars.”
While cars are often a metaphor for freedom or danger in songs tinged with nostalgia, Numan seemed to make his a stand-in for alienation — and in the most futuristic and technological manner possible. The simple poetry of the mostly monosyllabic lyrics, coupled with the beep-boop melodies, made “Cars” perfect for film soundtracks, dance parties and, most fittingly, road trips.
The song was released in 1979 as a single from Numan’s classic album, The Pleasure Principle, which so completely eschewed electric guitars for synthesizers that today, almost five decades later, the entire record somehow retains a science fiction feel. “Cars” might be the only song from Numan’s solo debut that is still in heavy rotation on ’80s stations, but tracks like “M.E.”, “Metal”, and “Airlane” are just as danceable and catchy.
In fact, all ten songs have something in common beyond their one word titles; they sound like something David Bowie might have composed. The Bowie similarity probably helped the record get to the top of the charts, but at no time does it sound like a copycat — more like Numan and Bowie are musical robots made by the same engineer.
Like Bowie, Numan has always pushed his music to new realms. After his time with Tubeway Army, he’s put out twenty solo records, the most recent being 2021’s Intruder.
Although he is a prolific recording artist, his appearance at Fort Lauderdale’s Culture Room is a rare South Florida concert event. It’s Numan’s first time performing here since he opened for Nine Inch Nails in 2013. At that show Trent Reznor brought Numan on stage to play a couple songs with him as gratitude for his influence. This will probably be just as special so it’s definitely worth getting in your cars to see him.
Gary Numan and special guest Tremours perform 7:30pm Saturday, March 7 at Culture Room in Fort Lauderdale. garynuman.com
IMMORTAL TECHNIQUE
by erik kvarnberg
Born in Peru, raised in Harlem, Felipe Andres Coronel was an immigrant teen-ager trying to figure things out before the world came to know him as the rapper and activist Immortal Technique. The path forward wasn’t smooth or easy: The PeruvianAmerican rapper honed his skills while incarcerated, and emerged with the desire to address politics, religion, institutional racism and humanitarianism, through music and more.
Immortal Technique’s first two albums immediately struck a chord. Revolutionary Vol. 1 featured the infamous “Dance With The Devil,” about the terrors of gang initiation. At the other end of the spectrum of belonging was “Beef & Broccoli,” which skewered the moral pieties often surrounding veganism but gave the actual practice respect. The album remains one of the most pirated independent releases of all time.
The follow-up, Revolutionary Vol. 2, found Immortal Technique contemplating “Industrial Revolution” in a world besieged by marketing: Over a dreamy piano-drum duet, he sounded like MF Doom if that trippy MC had turned deadly serious about his subject matter. Another standout on Vol. 2 was “Peruvian Cocaine,” a drug trade saga from the viewpoint of the growers, processors, mules and street dealers caught between cartels and cops.
Immortal Technique hasn’t stuck to music. He used the proceeds from his third album, The 3rd World, to build an orphanage in Afghanistan. He mentors youths in prison. His Rebel Army Runs charity, founded during the pandemic, funds elder care in New York and other cities.
A promised fourth album of new material, The Middle Passage, has been gestating since the mid-2000s. As the title suggests, it’s expected to be a sweeping survey of modernday slavery, totalitarianism and corporate greed. In the meantime, Coronel has been touring destined for The Middle Passage for years.
Immortal Technique with Poison Pen, DJ Static and Broot McCoy, perform 7pm Tuesday, March 3 at Respectable Street in West Palm Beach. immortaltechnique.com
THE BLACK ANGELS + INTERPOL
tim moffatt
The early aughts ushered in bands that mined the past to redefine the future through a revival of garage rock, psych rock, and post-punk, among others. And frankly, that’s what every generation has done since the inception of recorded sound. The Rolling Stones evolved from an r&b and blues band into the archetypal druggy rockers of myth in a nearly flawless ten-year run during the 1970s. The point is, music evolves with and within each generation, and (sometimes) within bands. So the next time you read an edgy take on rock being dead because Coachella only booked pop acts, consign it to the bonfire of indifference it deserves.
The Black Angels emerged from Austin, Texas in 2004 and immediately drew comparisons to the 13th Floor Elevators, also a psych rock band from Austin, but from the 1960s. It wasn’t a resemblance The Black Angels ran from: They were the backing band for Elevators frontman Roky Erickson when he toured in 2008. The Angels’ name and logo reference The Velvet Underground, the ’60s New York art scene brooders whose sound also left a mark on the Angels. Their dirge- and rhythm-heavy dark tones made for perfect mood music in television and films (True Detective, Silicon Valley, Assassin’s Creed), which in turn helped catapult them into the zeitgeist alongside other acts taking similar yet wholly different approaches to the genre.
During a run of six albums spanning 2006-2022, band members also helped found the Reverberation Appreciation Society, a record label and curator of the Levitation psychedelic music festival, which holds events annually in Austin, Chicago, Vancouver and France. While psych rock gave rise to Levitation, the line-up oozes a hipster cool that other festivals that aren’t the dearly missed All Tomorrow’s Parties (another Velvet Underground reference) don’t quite manage.
Along with early-aughts trailblazers such as The Strokes, The White Stripes, The Black Keys and Yeah Yeah Yeahs, Interpol took the post-punk revival route, while embracing a darker vibe. Let’s get this out of the way: Interpol started out sounding like Joy Division. But they outgrew those boundaries and have put out more music than Joy Division ever had a chance to.
Interpol’s debut album, Turn on the Bright Lights, was released to near universal acclaim in 2002. For many, it stands as one of the albums that defined the new millennium, along with The Strokes’ Is This It? While both bands inhabit a morosely jangly, borderline-bouncy sonic realm, they sound nothing alike. And both represent a past that, to the people who count that time as formative, feels closer than it actually is.
In Meet Me in the Bathroom, the 2017 book by Lizzy Goodman and companion 2022 film documenting New York’s revived music scene after 9/11, Interpol are a central focus at a moment of wartime anxiety, urban gentrification, emerging party scenes, and the redefinition of cool in the glow of uncertainty surrounding a changed New York. While some of their contemporaries have fallen off a bit, there is renewed interest in groups such as Yeah Yeah Yeahs and LCD Soundsystem, who took lengthy sabbaticals before returning to public life.
Interpol and The Black Angels have, for their part, largely kept at it with little dropoff in output, be it through their main bands or extracurricular activities. Interpol released the Other Side of Make Believe in 2022 and celebrated 20 years of their sophomore album Antics in 2024.
Both bands have made a huge impact on the scenes they came from and arguably helped create. And when future critics and historians write about early 2000s rock ’n’ roll, Austin and New York will rank alongside the storied Los Angeles and London scenes of the ‘60s and ‘70s.
Scenes are born because some kids got bored and decided to make the music they weren’t hearing. If you as a listener are lucky, you get to watch the scene grow up and the bands evolve, step by step, song by song. If they’re lucky, they get gobbled up by the mainstream and become someone’s soundtrack, the circle complete.
Interpol and The Black Angels perform 8pm Saturday, March 7 at the James L. Knight Center in Miami. interpolnyc.com, theblackangels.com
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RAVI ZUPA
by kelli bodle
Born in the basement of his family home in Littleton, Colorado, in 1977, Ravi Zupa was raised in an environment where, in his words, “art was an ordinary part of daily life — no different from eating breakfast.”
The PureHoney artist of the month recalls that he and his siblings had access as children “to a wide range of materials and tools, along with complete freedom to explore any medium that interested us.”
Supervision was minimal. “I remember cutting my finger while using a bandsaw alone when I was eight,” Zupa says. “It seems strange now, but I was never seriously injured, and I deeply value what I learned during that period. We were constantly making, experimenting, and creating.”
The self-taught high school dropout is now an established artist and illustrator with a thriving practice and credits including a movie poster for “One Battle After Another,” director Paul Thomas Anderson’s contender for Best Picture at this month’s Academy Awards.
Zupa’s work suggests kinship with the ideals, if not the methods, of the would-be revolutionaries in
“One Battle.” A quick survey reveals an intense absorption with themes of violence and cultural unrest. The movie poster is a woodcut-style rendering of actress Teyana Taylor’s very pregnant radical, Perfidia, firing off a machine gun, shell casings flying.
In other pieces, Zupa uses the words of hip-hoppers and folk singers alike — J Dilla, A Tribe Called Quest, Woody Guthrie —- as jumping-off points to critique police brutality and fascism. “We are surrounded by violence, and we should do everything in our power to reduce it,” he says. “I feel deeply troubled by violence. It’s something we need to talk about and consider seriously.”
His work has been paired in exhibitions with that of art-world luminaries such as Shepard Fairey and Andy Warhol for its similar immediate impact and alignment with values and ideas. At “Power of the People: Art and Democracy,” a Museum of Fine Arts Boston exhibit in 2024-2025, the theme was work that can change minds and move people to act. And there was Zupa’s black-and-white 2015 screen print, “An Extremely Old Problem,” featuring a bare skeleton beaten to the ground by another skeleton in a police uniform, under a scarlet headline quoting Dilla: “Who protects me from you?” The piece has been accepted into MFA Boston’s permanent collection.
If Zupa is having a moment right now, it’s a culmination of habits that date back to the carpentry mishap: A child of artists, Zupa has always taken his life choices into his own hands. “Whenever I wanted to learn something new — film and video editing, ceramics, welding — I could find someone to give me a brief overview,” he says, “and then I would set out to accomplish specific goals on my own.”
The self-sufficiency is buttressed by a voracious reading habit. “Franz Kafka and Jorge Luis Borges are at the top of the list,” he says of authors, adding. “I use books, poems, and lyrics as inspiration for my art. … I want to conjure in others the feeling I get from great books or great art. I don’t know how often I succeed, but that’s what drives me.”
Given his visual trade, is it likely that filmmakers are an even bigger influence? “That’s a tough question,” Zupa says. “I love David Lynch and Stanley Kubrick. PTA, of course. I think Ari Aster is my favorite newer director—he’s amazing. When I look at the films from these directors, I feel small and humbled, and it makes me want to work harder. That’s my best answer.”
He’s currently listening to the David Byrne and Brian Eno collaboration, Everything That Happens Will Happen Today. “It’s incredible,” Zupa says. “I drive my employees crazy playing it over and over again. I’ve also been listening to a lot of Kid Cudi and JID.”
Asked what keeps him coming back to the studio (also in Colorado), Zupa replies: “I love art. I genuinely enjoy it. Sometimes it’s challenging and uncomfortable, but I know I’ll always find it fun. I don’t think I could ever run out of that fuel. I also live in my studio, so I’m kind of stuck here — literally and figuratively. What else am I going to do?”
INVISIBLE AUDIO FEST
by abel folgar
Some scenes fade. Others go dormant; crouched low, listening, biding their time. This March, Florida punk does what it’s always done best: it reappears, loud and unapologetic, inside Churchill’s Pub, as the hardcore punk cassette label Invisible Audio stages its first-ever live festival.
It’s a two-night collision of reunions, new bands, and shared lineage at Miami’s resurrected dive. At the heart of the inaugural Invisible Audio Fest is something even less expected than a second act for Churchill’s Pub: A reunited Morbid Opera, performing for the first time since 1995. In Churchill’s return last September from five years of oblivion, Invisible Audio founder and promoter Flipper saw a chance to gather the hardcore punk bands that he and his friends helped ignite starting around 2016, well before COVID shuttered venues and shifted lives. “With Churchill’s back,” Flipper tells PureHoney, “I knew I could get people to agree to come back for reunion sets. I also wanted to bring in the new generation of bands in that style.”
The Morbid Opera reunion came together with almost suspicious ease. Prompted by ZigZag singer Josie, Flipper reached out to Morbid Opera’s bassist and singer Libby Bentley They found their stories mirrored each other across decades: Fort Lauderdale beginnings and DIY necessity. “We really can’t help it that we’re from here,” Flipper says, invoking the classic Florida punk compilation.
Morbid Opera guitarist Jeff Hodapp says he never imagined the band without original members Bentley and his wife Lisa Hodapp, especially after Lisa’s tragic passing in 2010. But the invitation clicked. “Might as well give it a one-off shot,” he tells PureHoney, equal parts excited and nervous. Morbid Opera, with Ale Campos and Emile Milgrim of Las Nubes in the lineup, will also feature a guest appearance by Jeff and Lisa’s daughter. It’s a reminder that Florida punk has always been cyclical, communal, and stubbornly alive. Venues close. Bands splinter. But when the lights come back on at Churchill’s, the music remembers exactly where it left off.
Invisible Audio Fest ft Morbid Opera, Zig-Zag, A.I. Death Calculator, Problem Child, and more on Friday, March 13, and Saturday, March 14 at Churchill’s Pub in Miami.
CYMANDE
by olivia feldman
When the British band Cymande broke up more than 50 years ago, after three albums and a foray to the U.S., they might have thought it was for keeps. But their socially conscious mix of calypso, funk and jazz lived on, especially in the heads and record collections of American hip-hop musicians, whose sampling put Cymande on an unexpected path to recognition and revival.
Founding members Steve Scipio and Patrick Patterson, originally from Guyana, met as neighbors on the same street in London, where they joined with other self-taught musicians from Jamaica, St. Vincent and Nigeria. Out of all-day neighborhood jam sessions a nine-piece ensemble — named after a calypso word for “dove” — took shape. Cymande’s buoyant sound embraced the musicians’ diasporic roots and deftly chronicled the hopes they nurtured, and the hostilities they faced, as immigrants.
Scipio’s bounding bass line on “Bra,” from the band’s eponymous 1972 debut, was emblematic, drawing the listener into a into a flourish of brass and a rousing chorus — “But it’s alright/we can still go on” — that cut against moody verses relating immigrant struggle. That same bass line would reappear year later in tracks by De La Soul and Gang Starr.
Unlike their home country, the U.S. embraced Cymande with open ears, leading to an appearance on “Soul Train,” a tour with soul star Al Green and a milestone gig — the first British band to headline Harlem’s Apollo Theater.
But with a lagging career back in London, they split in 1975. Scipio and guitarist Patterson became lawyers in the U.K. and eventually resettled in the West Indies, starting families and participating in local politics. And all the while, hip-hop luminaries including Fugees, Queen Latifah, and Wu-Tang Clan were introducing Cymande to a new generation of listeners. They reunited briefly in 2012, released a new album in 2015 — their first in 41 years — and were celebrated in a 2022 documentary, Getting It Back: The Story of Cymande. A new album, 2025’s Renascence, refines Cymande’s trademark sound and conscious message.
Cymande play 8pm Wednesday, March 25 at Miami Beach Bandshell. cymandeofficial.com
