GRAMPS: Fiddlehead, Rival Schools, Bad Beat, Collateral SWAMPGRASS WILLY’S: The Moon Men, Orange Blackheart, Zappe Cats, Give it Up ARTS GARAGE: Heart Shaped Box: Nirvana Trib
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics
8/20
THE PEACH: Artist Talk & Critique, Play w Clay GRAMPS: Phoneboy
PROPAGANDA: Moonshift a Micro
8/21
THE PEACH Art Talk, Sewing Class Ages 7-13
REVELRY: Bring Your Own Vinyl: Wax On Wax Off CRAZY UNCLE MIKE’S: Orange Sunshine
8/22
HARD ROCK LIVE: UB40, The Fixx
THE PEACH: Weird Wonderful Werld: Hydee Mustelier, Kayla Whitehurst, Ates Isildak, Open Studios, Henna Tattoos
RESOURCE DEPOT: Tabula Rasa Interactive Performance
BAR NANCY: The Zappe Cats, Alexa & the Old Fashioned GRAMPS: AJ McQueen
REVOLUTION LIVE: Decisions, Decisions
CRAZY UNCLE MIKE’S: Southern Blood REVELRY: Smerks & the Nightmares
8/23
RESPECTABLE STREET: The Zappe Cats, Salem Slot Machine, Orange Blackheart GRAMPS: Ordinary Boys
ARTS GARAGE: Big Momma Blues ft. Kat Riggins
REVOLUTION LIVE: Citizen Soldier, 10 Years, Adelitas Way
PROPAGANDA: Last Laugh Party, Burlesque, Rude Television, The Zoo Peculiar
CRAZY UNCLE MIKE’S: The Resolvers
REVELRY: Petty Hearts: Tribute to Tom Petty
8/24
MY MAMAS BOOKS, RECORDS & CAFE: I’ll Show You Mind, You Show Me Yours Zine and Flyer Show and Tell w Wolf Wench and Her Sexy Plague Doctors, Mr. Entertainment and the Pookiesmackers, DJ Skidmark
RESPECTABLE STREET: Impending Doom, With Blood Comes Cleansing
CRAZY UNCLE MIKE’S: Patrick Farinas & Jordan Richards
8/25
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics
8/26
THE PEACH: Sewing Class Ages 7-13, Come Paint w Me
8/27
THE PEACH: Artist Talk & Critique, Play w Clay CRAZY UNCLE MIKE’S: Billy Joel Trib w Andrew Klein
8/28
THE PEACH Art Talk, Sewing Class Ages 7-13
CRAZY UNCLE MIKE’S: Jose Almonte
ARTS WAREHOUSE: Open Figure Studio
8/29
HARD ROCK LIVE: Def Leppard
RESOURCE DEPOT: Tabula Rasa Interactive Performance
GRAMPS: Reggie and the Full Effect
CRAZY UNCLE MIKE’S: Remix
ARTS GARAGE: French Swing Collective
PROPAGANDA: Killed By Florida, Shehehe, Shakers REVELRY: Rock & Blues Night w Joel Dasilva Band
8/30 GRAMPS: MOLD! Album Release, Ben Katzman, Palomino Blond, Dime
REVOLUTION LIVE: Against All Authority, Laura Jane Grace & Band, Catbite KILL YOUR IDOL: The Zappe Cats, Condors & Chaos, Amor Faith
POORHOUSE: SheHeHe, Shakers, Killed by Florida
ARTS GARAGE: The Dirty Doors – Doors Tribute
PROPAGANDA: Mound Sinai, Hot Seat Band, Lighthouse
RESPECTABLE STREET: 90’s Homecoming GRAMPS: Miami Girls Rock Camp Youth Open Mic
PROPAGANDA: Curly Q, Dear Cincinnati, Walking Blue, Memory Well
CRAZY UNCLE MIKE’S: Boys Don’t Cry REVELRY: Revelry-Diculous Stand Up Comedy Night
TABULA RASA
by tim moffatt
Performance art is an ephemeral event that is lived rather than studied. It can be abstract and boundary-pushing even as it affirms that art is everywhere around us and that, as we age, we shouldn’t forget that play is itself a form of art.
These ideas will be explored in a set of live performances on three successive Fridays in August at The GalleRE @ Resource Depot in West Palm Beach. The presentation at the art and events space south of downtown is called Tabula Rasa and is described by its co-creators as a work of “devised theatre.”
In June and July, Tabula Rasa’s Autumn Kioti Horne and Suzanne Ankrum-Harris opened their workshop doors for a pair of introductory gatherings open to all comers — people of “all shapes, sizes, abilities and identities,” and “all physical abilities,” as their invitation stated.
Workshop participants learned basics of performance through exercises and techniques designed to help open their minds to “experiencing everyday objects in a new way,” as Horne and Ankrum-Harris explained. Some, maybe most, of the participants may be performing in the presence of an audience for the first time in their lives in August.
Tabula Rasa is just one of the interlinked projects pursued by Horne and Ankrum-Harris under the banner of the Sea Change Collective. They founded the collective in South Florida in 2024 because, in their view, “the traditional theatrical model was not addressing the needs and concerns of a changing world, a changing audience, and a diversity of artists.”
They’re filling the gaps and making creation more widely accessible through Sea Change, Tabula Rasa and a kindred effort called the Potential Energy Project. The idea behind all of these ventures is to equip anyone with the tools to become creators.
When we’re children, there are few limits to the imagination, before adulthood and all its requirements distance us from our capacity to live in the moment and conjure new worlds.
Sea Change and Tabula Rasa remind us why “play” is a synonym for “theatre.”
Sea Change Collective presents Tabula Rasa, 6:30pm Friday, August 15, 22 and 29 at The GalleRE @ Resource Depot in West Palm Beach. seachangecollectivetheatre.org
The Cultural Council created the Artist in 2020 for artists across all disciplines creative individuals who form the core sector. Since then, three rounds 21 Fellows. This biennial showcase 2024 Fellows and their work over the videos, music, and other
FEATURED
Suzanne Ankrum-Harris • Molly Eli Cecil • Noah Garbarino • Janis McDavid • Jose R. Mendez
Exhibition generously
Robert M. Montgomery, 601 Lake Avenue, Lake Worth Tuesday – Friday, 12 – 5 p.m.
Jose R. Mendez
Victoria Cardona
Artist Innovation Fellowship Program disciplines in order to honor and support the core of Palm Beach County’s cultural of grants have been awarded to showcase is a celebration of each of the 10 the past year, featuring photographs, other artistic expressions.
UB40 are, judging by their list of influences, the offspring of Bob Marley and Elvis Presley, and one of the most commercially successful reggae acts in history as measured in record sales. They’ve been nominated for multiple Grammys and at their peak in the 1980s spent 214 weeks on the UK singles chart — a feat rivaled only by Madness, a not-dissimilar ska band.
It’s a remarkable story considering the name came from the members’ shared experience filing for unemployment benefits — through the UK’s “Unemployment Benefit, Form 40” — before their fortunes turned. UB40 emerged in 1978 during a particularly relevant period in British music. Punk and new wave were merging with Jamaican riffs and beats, and artists were trying everything under the sun to make music fun.
UB40 were not a punk band, but in a climate of openness to new sounds and hybrids the band’s laid-back, pop-savvy style of reggae found receptive audiences. It wasn’t long before the Neil Diamond-penned “Red Red Wine” became an international hit for UB40, and new generations heard the Elvis standard, “(I Can’t Help) Falling in Love With You,” reset as a reggae track.
Joining UB40 on their North American tour is The Fixx, another English group that emerged from a time of creative flourishing. Formed as the Portraits, they later became The Fix, one “x.” When MCA Records offered the band a deal, provided they changed their name to avoid being associated with drug use, a compromise was made. An extra “x” was added, and The Fixx became radio and MTV favorites with the quintessentially new wave “Stand or Fall,” “Red Skies,” “One Thing Leads to Another” and “Saved by Zero.”
Montgomery, Jr. Building Worth Beach, FL 33460
Free and open to the public palmbeachculture.com/exhibitions
Both bands have carved out careers worthy of not only retrospective recognition but celebration, with both delivering new music in every decade of their activity. They’ve just never quit, and their audience has grown with them as they continue to tour and record. Take that, Unemployment Benefit Form 40!
UB40 and The Fixx play Hard Rock Live in Hollywood 8pm Friday, August 22.
Eli Cecil Tracy Guiteau
Cornelia
RADSKI
PHOTO
STUDIO
UB40
DEF LEPPARD
by david rolland
Wanna get rocked? You’re in luck: Def Leppard are coming to town with a battery of anthems that make whole arenas chant along, whether its “Pour Some Sugar on Me,” “Armageddon It” or the afore-referenced “Let’s Get Rocked.”
Formed in the UK in 1977, Def Leppard have been a steady touring and recording presence ever since, and an inspiration for air guitarists everywhere for close to 50 years. At their ’80s-’90s peak they released a trifecta of albums that ruled MTV and rock radio. 1983’s Pyromania, 1992’s Adrenalize, and most especially 1987’s Hysteria were inescapable with their hard-driving riffs and earworm refrains.
The band has sold more than 100 million albums worldwide and in 2019 Def Leppard were inducted into the Rock & Roll Hall of Fame. The five-piece lineup on tour this year hasn’t changed in ages: singer Joe Elliott, bassist Rick Savage, drummer Rick Allen, and guitarists Phil Collen and Vivian Campbell
When I spoke to Campbell in 2015 for a New Times article, he was already 23 years into the job but said he still felt like the new guy. Campbell joined Def Leppard after the death in 1991 of one of the band’s founding guitarists and songwriters, Steve Clark Campbell told me that being accepted into an established group requires not just proficiency with the songs, but knowing how to mesh in the “submarine duty” close quarters of band life over the long haul.
Knowing what audiences want when they come to a Def Leppard gig — “good, old-fashioned, high-energy rock ’n’ roll” — was also key, Campbell noted. With more than a dozen Top 40 singles to pick from, Campbell quipped, “the downside is that we have to play them all.”
But he emphasized that every audience includes someone hearing these hits live for the first time, and how important it is that the energy and positivity don’t feel faked. Here in 2025, the mandate is no doubt the same: to make concertgoers feel well and truly rocked. Def Leppard perform 8pm Friday, August 29 at Hard Rock Live in Hollywood.
CATBITE
by amanda moore
If Clueless-era angst crashed into Scott Pilgrim-grade chaos and spawned a grunge-ska band raised on Paramore, Sublime, No Doubt, and raw heartbreak— you’d get Catbite. Their songs splice indie flair, ska core, and punk-pop dance-floor adrenaline. It’s music built for losing your voice to, and maybe your morals. Catbite sound like Guanabanas, E.R. Bradley’s and Respectable Street merged into one grungy all-night waterfront hangout where you meet the Bonnie to your Clyde.
The Philadelphia band spent the summer decimating U.K. stages; now they touch down for a blink-andyou’ll-miss-it Florida double shot: Tampa’s Orpheum and, most vitally, Fort Lauderdale’s Revolution Live Picture cheap beer sweat misting the crowd, brass riffs ricocheting off the walls, and a pit that feels like the eye of a hurricane — smiles flashing just before the smash. It’s an experience where it feels good to be bad, good to be real, good to be alive and dancing with the devil on one shoulder and the angel on the other.
Doom Garden, out now on Bad Time Records, marks their gnarliest bloom yet. Grammywinning producer Sarah Tudzin (boygenius, illuminati hotties) lays cinematic grit beneath Brittany Luna’s velvet-razor roar. A cameo from Patrick Stump of Fall Out Boy nudges the sound deeper into emo-punk territory without sanding off the sharp-toothed DIY edge. Luna’s lyrics mine confession and catharsis, wrestling self-judgment and redemption from grooves built for letting loose.
Get ready for the live set by queuing up a few fan favorites. “Bad Influence” oozes reggae-slick menace, glorifying reckless devotion. “Tired of Talk” crackles with pop-punk vulnerability and chaotic energy, with a video styled like a vintage zine collage. “Die in Denver” leans into full horror-comedy carnage — blood on the ice, hooks in your head — and confirms that Catbite would rather torch genre lines than politely blend them. The result is an agile riot: ska swing, punk venom, indie curiosity, emo heart, and a mass purging of demons on the dance floor. Bring your favorite partner in crime—and maybe leave the angel on your shoulder at home.
Catbite, Against All Authority, and Laura Jane Grace perform 8pm Saturday, August 30 at Revolution Live in Fort Lauderdale. catbite.net
PHOBYMO
DAYGLO ABORTIONS
by abel folgar
Led by founding guitarist and vocalist Murray “The Cretin” Acton since 1979, the Dayglo Abortions emerged from the humid fringes of a Canadian punk scene on Vancouver Island, fusing surf-rock riffs with hardcore velocity and truck-stop bathroom humor. Their 1981 debut, Out of the Womb, set the tone: fast, irreverent, and gloriously offensive.
And they were just getting started. Dayglo’s 1986 album, Feed Us a Fetus, turned heads and stomachs with cover art of Ronald and Nancy Reagan smiling over a ghastly, band-themed dinner platter garnished with jellybeans (the 40th U.S. president’s favorite snack). But it was 1987’s Here Today, Guano Tomorrow that saw Dayglo’s blend of juvenile absurdity and scathing anti-establishment fury become a free-speech flashpoint, after an Ottawa-area police officer found a copy of the album in his daughter’s bedroom. Acton became a defendant in a landmark obscenity trial that ended with the band cleared of wrongdoing.
As peers flamed out or sold out, Dayglo leaned in, weaponizing satire, speed and slime on into the ’90s and the next century with albums including Holy Shiite, Armageddon Survival Guide and their latest, 2021’s Hate Speech. Through decades and lineup changes, Acton has remained Dayglo’s snarling core, deploying venomous wit and shredding guitars, with relentless shots fired at politics, religion and society. He continues to put on live shows that are raw, loud, and soaked in beer and bile.
Also on the bill are local old school hardcore disaster artists Killed by Florida and, from Austin, Texas, The Brothels. Fronted by David Luna, who once sang for New York hardcore punk legends Reagan Youth, The Brothels garnered even more punk cred for salvaging dates on a collapsed 2024 tour involving a vanished booking agent and missing funds. The Dayglo Abortions were supposed to be on that tour, and if anyone would have been shocked but not surprised by what happened, it’s Acton. Back in 1987 he railed at “ripoff” concert promoters in a Dayglo track called “Kill Johnny Stiff.”
The Dayglo Abortions, The Brothels, and Killed by Florida perform 7pm Friday, August 15 at Respectable Street in West Palm Beach. daygloabortions.com
BEN KATZMAN
by kelli bodle
“Growing up in Miami in the 90s was like being in The Bird Cage or a Nickelodeon cartoon, like Rocko’s Modern Life, because everything was pastel and like a Miami Vice hangover,” PureHoney artist of the month Ben Katzman tells us in his incurably referential way.
Katzman — musician, bandleader, record label founder and raconteur as well as illustrator — grew up in Miami but lives and works in L.A. now. He returns to his hometown often, though, and you might have seen his “doodles” — his word — on a flyer or poster if you visit Gramps (where his band is playing MOLD!’s record release party on August 30). It’s also possible you’ve watched him raving about Van Halen on Survivor. Katzman starred on season 46 of TV’s epic reality castaway face-off, which aired last year. As the Fijian island’s resident rock metal guitarist, Katzman shredded his way to second runner-up — so close! — in the May 2024 finale.
Katzman “manifested the shred,” as he puts it, by taking what appeared to be a real shit sandwich of a situation and turning arduous lessons learned on Survivor (and elsewhere) into a life-affirming ethos about art and well being. “Art isn’t about success, it’s about selfexpression,” Katzman says. “We need to do that for our own mental health.”
The charisma that landed him on TV also comes blazing through in his band, Ben Katzman’s DeGreaser, and in his free-form rock ’n’ roll promotional art. “I’ve always done tour posters for friends,” he says. “When it came to music, I was booking my own shows. I wanted to make my own fliers and my biggest influences for that were bands that had self-contained images, like KISS and The Ramones. You have to have the whole package.”
“Every piece of merch, every poster, every album cover plays on this unifying thing,” he adds. “You can’t picture one without the other. I don’t think there are KISS fans that listen to KISS and don’t think about how cool they look because of the makeup.”
This whole-package deal is intrinsic to Katzman’s identity. “Don’t Be A Poser (To Yourself)” is a track on his 2023 Transcendental Shreditation album. “Those songs are all about grappling with your sense of self in the world and taking out the inner critic,” he says. When asked if he uses transcendental meditation to help spark ideas — a practice the iconic filmmaker David Lynch embraced — Katzman replies, “Well, full disclosure, the psychedelic mushrooms help too.”
The cartoons-on-acid look of his drawings plays nicely with the content he makes: gig posters and other promos for fun-loving but intense rock shows. “I like when it looks like a third-grader made it, but it feels like, was it a third-grader or a 30-yearold?” he says. The point of a flyer or poster is to catch the eye, explain a concept at a glance and from a distance, and to make an impression. Katzman deftly captures all these elements with his doodles.
“I love to doodle,” he says. “In a world where we’re constantly on social media and vying for ‘likes’ and all this bullshit … you can’t be on your phone when you’re doodling. It takes me away from technology. It’s very much a meditational practice.”
Life online v. IRL is a perennial point of contention. “At the end of the day,” Katzman says, “when you’re on your deathbed, what are you going to think about? How many posts and cool things you saw on the phone or how many things you experienced?”
Katzman has related insights into his hometown’s artistic and musical life. The Miami he remembers, before the city became an influencer magnet, “had a unique identity where all the buildings were pink and orange and blue, and there really was a push for local art. I remember there were a lot more local art events then. Maybe it’s the crosshairs of social media.”
“Small scenes are important and community is important,” Katzman says. “It’s important not to replace actual human connection with the Internet. Would you be happier posting millions of TikTok [musical] covers getting hundreds of thousands of ‘likes’ but drawing no people to an actual show?”
Ben Katzman, Palomino Blond, and Dime open for MOLD! 7pm August 30 at Gramps in Miami. Find Ben Katzman’s art and music at benkatzmanshreds.com
CROWBAR
by erik kvarnberg
Uncompromisingly punishing and brutally iconic, Crowbar have been an integral band in the metal biosphere since the breakout success of their self-titled second album in 1993. Combining the knuckle-dragging crawl of sludge with restless hardcore breaks, songs like “Existence is Punishment” have been heckled as “slow and fat” by the chortling likes of Beavis and Butthead on MTV. But fans (and cartoon characters) truly enjoy how Crowbar’s churning riffs and broken-bones drumming revive a forgotten Paleolithic violence.
Briefly borrowing members from Eyehategod (also playing on this tour), Goatwhore, Pantera, Soilent Green, and Acid Bath, founding member Kirk Windstein has been pounding out material nonstop, also forming the bands Down and Kingdom of Sorrow, and releasing a solo album.
Crowbar’s early work is frequently compared to legends like Metallica, Black Sabbath and Pantera. They are more Melvins than the Melvins. More punishing than Acid Bath Like Celtic Frost distilled into its purest form. Like if you put The Germs in a vat of molasses.
Their later work is eerie and foreboding: Imagine a haunted house version of Boris, with Crowbar’s 2022 album Zero and Below itself being the latest addition to the discography. It can be described as a Frankenstein’s monster of what Crowbar is known for, but it feels more mature owing to the 30 years it took to get there. Windstein’s melodic lilt beats down like a hammer from the first few seconds of the album, a good omen that comes true for the entire 42 minutes.
Like Phil Anselmo’s shirt in Pantera’s “I’m Broken” video, Respectable Street will feature Crowbar and Eyehategod in the same place. This combination itself is legendary, both being primary exports from the New Orleans metal scene. Also up to bat is BLEETH, a Miami-based doomy, sludgy, noisy trio who released their third full-length album, Marionette, in May. Expect a few bruises and aching joints from a night of pit mayhem, with these primordial mosh instigators leading the way.
Crowbar, Eyehategod and BLEETH perform 7pm Saturday, August 9 at Respectable Street in West Palm Beach. crowbarnola.com
MOLD!
by erik kvarnberg
A bilingual record of immigrant life is the centerpiece of a summer tour for Peruborn, Miami-based psych-rockers MOLD! The brand new album, III, that Carlo Barbacci and his rotating collective are taking on the road is a reflection in both English and Spanish on nostalgia, dreams, morals, and the duality of an expat’s journey. Instrumentally, III is a high-energy, futuristic clamor inspired by the likes of Kraftwerk, Animal Collective, Spacemen 3 and Spiritualized — “bands that create their own world,” as Barbacci tells PureHoney
The current lineup bringing this album to Gramps in Miami and to stages across the Southeast, with forays into the Midwest, is Barbacci joined by three mates who hold down roles in other Miami bands: Peter Allen, Francisco Lujan and Joshua Soria, from Palomino Blond, Pavlov’s Bell and The Creature Cage, respectively.
“I keep the thing going with whoever is down to rock with me basically,” Barbacci says. That evolving character has made each new MOLD! release sound distinctly fresh. 2021’s No Silence! would slot comfortably into a playlist featuring Lush and Puzzle, with intervals of Siouxsie Sioux The self-titled 2023 followup evokes Bauhaus, Amyl and the Sniffers, and Autolux, balancing erratic sounds with catchy melodies.
A standalone single released in June, “AMARILLO, features MOLD! alongside Madridbased, Peruvian-Palestinian musician Nico Saba. Their collaboration seems to imagine David Byrne writing reggaeton while Ian Curtis’ ghost uses Barbacci as his spirit vessel. The new MOLD! album is awash in snare fills and auditory asides that could be vacuum cleaners or UFO landings. It bristles with eye-catching song titles like “Shinji Ikari!,” “Struggle with Nihilism!,” and “Al Tacho!” And it will resonate with anyone who wishes the Minecraft soundtrack had been Midwestern emo played at a faster clip. The album’s standout finale, “Correct Me!,” features two drum tracks — one played by Barbacci — rippling through a Yo La Tengo-esque cloud of noise. The eerie, collage-like album art comes from Barbacci’s childhood friend Ian Duclos, another in a long line of Peruvian talent showcased in MOLD!’s visual portfolio.
MOLD! play a record release party for III with Ben Katzman, Palomino Blond, and Dime, 7pm Saturday, August 30 at Gramps in Miami. mooold.bandcamp.com
