Cover: Evan Orllana @long_river_designs
“The greater the disparity, the greater the despair.”#GreedKills #FlipThePyramid
thru 3/1: BOCA RATON MUSEUM OF ART: Timeless Mucha, The Magic of Line. Tracing the influence of Art Nouveau Pioneer Alphonse Mucha
ARTS GARAGE: An Evening w Pink Floyd OFF THE CLOCK: DJBT CRAZY UNCLE MIKE’S: Funkin’ Grateful REVELRY: Camel Toe Funk Band
1/1 CHURCHILL’S PUB: Houndstooth Cottage Showcase REVELRY: New Years Brunch w DJ Kent Lawlor, Live Music Bingo w Smerks & The Nightmares CRAZY UNCLE MIKE’S: Jaden Lehman
1/3-2/28 THE FACTORY: No Clubs Presents celebrates 40 years of concerts w “Live Since ’85” art exhibit
1/2 PROPAGANDA: Killed by Florida, Voice of Dissent, Mutiny Act, 1983 CHURCHILL’S PUB: PRIMITIVO CRAZY UNCLE MIKE’S: Majesty Of A Queen OFF THE CLOCK: Busta Moves ARTS GARAGE: Art of Laughter w Nick Griffin ft. Sheena Reagan ARTS WAREHOUSE: Exhibition Opening, Art Walk & Open Studios 1/3 RESPECTABLE STREET: Diabolic & Hellwitch, Implosive Disgorgence, Illusious PROPAGANDA: Battle to LA Part III ft Blabscam, Jeremy Sousa, The Black Heart Society, VMF, Joycult, Pheromones, The Moon Men, Death by Holiday, The Jumpcuts, Bomb the Algorithm
1/4 ARTS GARAGE: Soultastic Pointer Sisters Tribute CRAZY UNCLE MIKE’S: George Lynch 1/7 MTN SPACE: Jason Rosenberg, Works on Paper MIAMI BEACH BANDSHELL: Miami Beach Rock Ensemble’s Tribute to Doug Burris KILL YOUR IDOL: The Elm Tops CRAZY UNCLE MIKE’S: The Flyers CHURCHILL’S PUB: Speed dating w Soy Water 1/8 PROPAGANDA: Open Mic CRAZY UNCLE MIKE’S: Kelli Baker 1/9 ARTS GARAGE: Dick Lowenthal & His All-Star Big Band PROPAGANDA: Emo 2000s & Punk w Fall 4 U OFF THE CLOCK: Medley
1/10 MIAMI BEACH BANDSHELL: SoBe Jazz Fest ft Spanish Harlem Orchestra w Etienne Charles REVOLUTION LIVE: Tuna Live ARTS GARAGE: Shayna Steele REVELRY: Lovecats Tribute to The Cure CRAZY UNCLE MIKE’S: Wide Awake: U2 Tribute OFF THE CLOCK: Pablo Ferro PROPAGANDA: Legion Bash Benefit for Furry Friends Humane, Volt Thrower, Ethernal Dark, Limp Breaker, Nefarious Grime 1/11 MIAMI BEACH BANDSHELL: Move Fest w Yoga, Music, Conscious Living ARTS GARAGE: Why: An Actor Preparing by Davion Tynarious Brown CRAZY UNCLE MIKE’S: Doctor My Eyes OFF THE CLOCK: Kranz 1/14 MIAMI BEACH BANDSHELL: Miami Jewish Film Fest 1/15 REVELRY: Bring Your Own Vinyl: Wax On Wax Off 1/16 RESOURCE DEPOT: Waste to Wonder Opening Artist Reception. Runs thru 2/26 PROPAGANDA: Orange Blackheart, Joyce Joyce, Mother Rucker REVOLUTION LIVE: In The End, Blaze Francisco ARTS GARAGE: Our House & Taming the Tiger OFF THE CLOCK: Medley CRAZY UNCLE MIKE’S: Girlfriend Material REVELRY: The Joel Dasilva Band 1/16-2/1 LW PLAYHOUSE: Kiss Me, Kate 1/17 RESPECTABLE STREET: Leftover Crack, La Pobreska, Billy Doom MIAMI BEACH BANDSHELL: Nu Deco Ensemble ft Lupe Fiasco ARTS GARAGE: Dancing Queen: A Tribute to Disco OFF THE CLOCK: Meaux REVELRY: Our Lady Avery 1/18 ESPLANADE PARK: Flow Fest Ft Lauderdale! Vendors, Performance, Jams, 40+ Workshops, Flow Arts, Dance, Yoga MIAMI BEACH BANDSHELL: Flamenco Sephardit ARTS GARAGE: The Rat Pack Now REVELRY: Lost in the Male: Male Burlesque Revue OFF THE CLOCK: Darren CRAZY UNCLE MIKE’S: Crazy Fingers 1/20 RESPECTABLE STREET: Shattered Realm, Death before Dishoner ARTS GARAGE: Spoken Word Open Mic 1/21 RESPECTABLE STREET: Maylene & the Sons of Disaster MIAMI BEACH BANDSHELL: Screendance CRAZY UNCLE MIKE’S: The Flyers 1/22 LAS ROSAS: Electric Kif CRAZY UNCLE MIKE’S: J-Rod Sullivan 1/23 CHURCHILL’S PUB: Lemon Twigs REVOLUTION LIVE: Say Anything, Motion City Soundtrack PROPAGANDA: Last Laugh ft Burlesque & Tomfoolery, Machine Poetry, Ursa Arcana, Randall & The Vandals ARTS GARAGE: The Eagles Revival CRAZY UNCLE MIKE’S: Life In Technicolor REVELRY: Tasty Vibrations
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/24 ENTRY STORAGE: 10X10 Again! AS ROSAS: Off with Their Heads ROPAGANDA: Winter Goth Celebration ft Allie ost, Mark Steiner and His Problems, Faustan, lass Apple Bonzai EMISTRY NIGHTCLUB: Sidewalks and Skeletons Afterlight Tour”, CashForGold, Suffer Ring RAZY UNCLE MIKE’S: Smokin Renegade RTS GARAGE: The Eagles Revival
/25 IAMI BEACH BANDSHELL: SoBe Chamber Ensemble RTS GARAGE: Tom Glynn in American Tune: mon, Croce & Taylor FF THE CLOCK: Darren
/29 ESPECTABLE STREET: Matt Pryor (Get Up Kids) RAZY UNCLE MIKE’S: PHD Band
/30 ROPAGANDA: Mad Mellow ELRAY BALLROOM: Hustle Contest w Medley
/30-2/7 HURCHILL’S PUB: International Noise Conference
/30 EVOLUTION LIVE: Electric Feels RTS GARAGE: The Motowners
/31 ESPECTABLE STREET: “Unbelievable 90s” ft MF, HADEE., DJ Lindersmash RTS GARAGE: The Motowners ROPAGANDA: Lighthouse the Band RAZY UNCLE MIKE’S: Beer For My Horses EVELRY: LOL Dating Game
/5-2/15 W PLAYHOUSE: The Sound Inside by Adam Rapp
/6 ESPECTABLE STREET: Reverend Horton Heat, ewerside Bombers IAMI BEACH BANDSHELL: Disco Biscuits EVOLUTION LIVE: Nirvanna, Arms Wide Open (Creed) RMORY ART CENTER: Art Throwdown
/7 EVOLUTION LIVE: Earlybirds Club AS ROSAS: Sex Mex PITIOS: TC Silk, Ian Frandsen
/9 WAR MEMORIAL AUDITORIUM: Sabaton, Pop vil, Wings of Steel
/11 ESPECTABLE STREET: “Emo & Pop Punk Valentine how” feat. Good Terms, Dirty Rivals, AWALL
/12 EVOLUTION LIVE: Joey Valence & Brae (Monster nergy Outbreak)
/13-15 ESPECTABLE STREET: Blanks 77, Slaughter nd Dogs, The Erections, Menace, Destrucve, Noi!se and many more. We Are The unx LXIX
/13-3/15 MTN SPACE: Vincent Stracquadanio, Shut our Eyes and Burst Into Flames
/13-22 ROWARD COUNTY: IGNITE Broward! ania Beach, Fort Lauderdale and ollywood w daily public hours varying y location. ignitebroward.com
NU DECO ENSEMBLE by olivia feldman
Bairos tells PureHoney.
For Nu Deco Ensemble co-founders Jacomo Bairos and Sam Hyken, symphonic music doesn’t have to be stuffy or elitist; it can be fresh and accessible to all. “There are no ceilings, walls or anything caging us from exploring every genre and style,” Nu Deco artistic director and conductor
Merging full orchestration with contemporary songs since 2015, the Miami-based ensemble has brought down genre walls while working with everyone from Andrew Bird to Macy Gray. Now one of the most-followed U.S. orchestras on Instagram, they’re paying tribute to hip-hop’s poetic lyricism in a powerful collaboration with Chicago-bred rapper Lupe Fiasco. This isn’t the first time they’ve gone hip-hop. In 2023, a clip of Nu Deco’s arrangement of “SpottieOttieDopaliscious” by Outkast racked up more than 20 million Instagram views and a repost by Big Boi himself. It’s easy to see why: Each violin and trumpet keeps the jazzy, soulful meter of the original, with a dash of record scratching included to strengthen the classical-contemporary bond. The hip-hop tribute with Lupe will open with the world premiere of “Playground,” composed by pianist and YoungArts alum Pascal Le Boeuf. A chamber commission for Nu Deco, the work embodies Le Boeuf’s and Nu Deco’s spirit of experimentation, play and curiosity. Lupe will then bring his signature lyricism to the larger-than-life, uplifting and heroic final movement of Shostakovich’s resounding Symphony No. 5. “It really mirrors the emotional depth we find in hip-hop: the struggle, defiance, triumph,” Bairos says. “It proves that great music across eras can really share the same emotional truth.” Closing out the evening is a heartfelt symphonic tribute to the late rapper Mac Miller and a new original Nu Deco work. “I think orchestras sometimes feel like the only style that they can elevate and produce is this classical based form of it, and I just simply disagree,” Bairos says. “By taking all these composers and instruments and combining them in this really fresh way, every piece of art can be uplifted equally.”
Nu Deco Ensemble performs with special guest Lupe Fiasco 8pm Saturday, Jan. 17 at the Miami Beach Bandshell. nu-deco.org
71 3 Lake Avenue, Lake Wor th Beach www.lakewor thplayhouse.org | 561 .586.6410
TO CATCH A GHOST, DARIUS V DAUGHTRY
IGNITE BROWARD by amanda moore
A novelist from another era once wrote that “art is the stored honey of the human soul” — both product and repository of our imagination, industry, and curiosity about what it means to be human. An analogy that we at PureHoney appreciate also makes sense as a way to think about an event in our backyard: the IGNITE Broward festival. Broward County’s techforward, spatially ambitious happening, which turns five this year, unites multimedia works, people and environments in a kind of honeycomb of creative synthesis.“Festivals like IGNITE allow us to broaden the reach of the arts and give both locals and visitors a deeper appreciation for the role technology plays in creative innovation,” says Phil Dunlap, director of Broward Cultural Division, the festival’s sponsor and organizer. IGNITE Broward expands to four locations for 2026, including Fort Lauderdale-Hollywood International Airport, auguring an even bigger sense of scale and greater accessibility to its many exhibitions and immersive installations. At IGNITE Broward mainstay MAD Arts in Dania Beach, Guillaume Marmin’s cosmic, data-driven work will pull celestial rhythms down to earth, and Weidi Zhang’s AI-infused environments morph through human interaction. During the festival’s ten days in February, also keep your antennae up at MAD Arts for poetic digital narratives by Darius Daughtry or sound-reactive collaborations of Homegrown Visuals + Akomi. At new IGNITE Broward locations — Reverend Samuel Delevoe Memorial Park in Fort Lauderdale and ArtsPark at Young Circle in Hollywood — look for expansive outdoor works by the likes of Daniel Popper, Pneuhaus, Studio McGuire, and ITHACA Studio as they transform shared public spaces into luminous ecosystems. The festival’s array of projection mappings, light sculptures, audiovisuals and less easily categorized creations really have to be experienced in person. In past years, you could have found yourself becoming part of the work as waves of shifting color danced around you, or as sound ricocheted through open air, with some installations seeming to speak directly to you in moments of solitude. Everywhere you go at IGNITE Broward, participation reshapes perception. Our honeybee analogist would have approved. IGNITE Broward takes place February 13–22, 2026 in Dania Beach, Fort Lauderdale, and Hollywood, with daily public hours varying by location. ignitebroward.com
ANDREA SARCOS
FLOW FEST FTL by amanda moore
Vibrations are the universe’s first language — every atom trembling with intention, every living thing shaped by an unseen rhythm that guides, steadies, and transforms. Before thought or movement or meaning, there is vibration: the subtle cosmic heartbeat that threads through everything, reminding us that life is not static but a continual resonating into being.
Flow Fest Ft. Lauderdale, returning to Esplanade Park, transforms this idea into a living, participatory experience. The free-admission daylong festival gathers dancers, yogis, flow artists, musicians, vendors, and curious newcomers into an environment that explores how movement, play, and community shape the human spirit. With workshops in flow arts, dance, and yoga — alongside fire-spinning gatherings, professional development sessions, live music, and immersive jams — Flow Fest becomes a pop-up village devoted to creativity and embodied presence. It’s also designed for all levels of experience, welcoming complete beginners alongside seasoned artists in an atmosphere that values curiosity over perfection. The Fort Lauderdale gathering is the first of seven Flow Fests taking place in cities across the country during 2026. Flow Fest founder and director Casandra Tanenbaum tells PureHoney that “Symbiotic” is this year’s theme: “We are consciously leaning into our interdependence and cultivating collaboration and coherence.” In the Flow with Hoops class, to give one example, the hoop becomes a metaphor for the interplay of inner and outer worlds: thought looping into breath, breath into emotion, emotion into physical expression. Movement with hoops cultivates a powerful awareness of cycles of life and creation. Music forms the festival’s vibrational spine. DAWdust, an award-winning DJ whose global path has shaped a sound both grounding and surreal, creates bass-driven landscapes that recalibrate the nervous system. South Florida’s SUBSQWAD adds a thunderous acoustic bloom, weaving dancers, fire artists, and attendees into an ephemeral community carried by a collective rhythm — an underlining of the Flow Fest credo that “flow isn’t just movement, it’s connection.” By Sunday’s iconic group toss — hundreds of props rising into the afternoon light — the festival’s purpose becomes unmistakable: Not simply an event, Flow Fest is a resonant happening where strangers become mirrors and deeper truths emerge as our frequencies briefly, beautifully align. Flow Fest Ft. Lauderdale takes place Sunday, January 18 at Esplanade Park. flowfests.com
PHIL HUNT
EMF
by sean piccoli
Maybe it was the English accent, or the hip-hoppy bounce with rockedout guitars. Or maybe it was the sampled shout from a raunchy ’80s comedian. Whatever the secret of its success, “Unbelievable,” by the British band EMF, landed like a cannonball in America’s backyard pool in the summer of 1991. The track was a worldwide hit, reaching No. 1 in the U.S., with that boisterous “Ohh!” booming in everyone’s ears.
Looking back, EMF’s Ian Dench says “Unbelievable” was not part of a master plan. “Initially, we had no idea,” Dench tells PureHoney ahead of a quick swing through Florida for a 90s Cruise and a one-off at Respectable Street in West Palm Beach. “But something about ‘Unbelievable’ just connected.” It was a once-in-a-career event. EMF made two more LPs, disbanded, reunited, broke up and regrouped again, and was largely remembered as a fun ’90s fling. But Dench doesn’t sound like someone ruing his one-hit-wonder fate. “The experience we’ve had and the money we made thanks to that song, what a wonderful thing it’s been in all of our lives,” he says. “We still play it every gig.” EMF have been busy of late, beginning with 2022’s Go Go Sapiens, the first album of new EMF music in 27 years, followed by another LP in 2024 and a late-2025 EP, Reach For Something Higher. The 2020s music is unmistakably EMF, upbeat rock with sampled snippets and singer James Atkin sounding boyish as ever. The band is touring again, and wading into contemporary culture wars with inclusive anthems such as “Hello People” and “LGBTQ+ Lover.” The EP track “Hands in the Air” came after band members attended a “No Kings” protest in San Jose in June. “We wrote it on the road and debuted it on the tour,” Dench says, describing the song as inspired by “the hope” he saw in America “and that will for positive change.” Another album is in the works, Dench says, as EMF have found renewed joy in making music without the pressure to write hits: “I feel like we’ve regained our peace with who we are.” EMF play Saturday, January 31 at Respectable Street in West Palm Beach. emf-theband.com
Self-portrait for Sarah Bernhardt Mucha Trust 2024
ALPHONSE MUCHA by trina gray
Few artists have struck the balance between fine art and commercial appeal as perfectly as Alphonse Mucha. A leading figure more than a century ago in the Art Nouveau movement — whose swooping lines and botanical motifs were a hallmark of Europe’s golden Belle Époque, before World War I — Mucha endowed popular art with a visual language that is beautiful to look at and culturally relevant today. Mucha took photographs, made posters, illustrated books, and created jewelry, stage sets and costume designs, employing various techniques across different media to produce a body of work with a lasting impact on art and illustration.
A traveling exhibition, Timeless Mucha: The Magic of Line, currently on display at the Boca Raton Museum of Art, surveys the Czech-born artist’s career through more than 100 works on loan from Prague’s Mucha Trust Collection. Timeless Mucha explores his process and the evolution of his distinctive style — from his signature “Q formula” compositions that revolutionized graphic arts to a fusion of vibrant colors and otherworldly elements that would later find its way into psychedelic art and Japanese manga. “Mucha didn’t invent Art Nouveau, but he is its father,” Boca Raton Museum of Art Curator Kelli Bodle tells PureHoney. “He expanded it, deepened it and fully explored its possibilities.” Mucha’s breakthrough came in Paris in 1894 with a commission for a poster promoting the French stage actress Sarah Bernhardt in the world premiere of the play Gismonda. The artwork became a sensation and spurred a long-running partnership: she as his muse, and he as the artist who could capture the mystique and magnetic stage presence of “Divine Sarah,” as Bernhardt was known. People today barely remember the play, but they know the poster of Bernhardt as the title character wreathed in runic lettering and a floral crown. Mucha’s posters blended lush designs with flowing natural forms, often featuring a nymph-like woman as the central figure, framed by a decorative border, splashes of flowers and a prominent circular outline that evokes a halo. Placing his subject asymmetrically in an arc or a circle was the basis of his Q formula. The women were undeniably feminine — dreamy eyes, cascading hair, cheeks suffused with color, symbols of sensuality and self-possession. The popularity of his illustrations proved that art could be both aesthetically pleasing and widely accessible. “Posters during that time were seen as disposable,” Bodle says. “But once Mucha began making them extraordinarily beautiful, people would go out at night with razors to cut them off the walls and bring them home. Imagine doing that today — seeing a poster on a telephone pole and thinking, ‘This is the best artwork I’ve ever seen,’ and then taking it home. That’s what he achieved.” Alongside some of Mucha’s most recognizable lithographs — including Job, Zodiac and Rêverie — Timeless Mucha presents objects, sketches and photographs that reveal how he developed and refined his technique. Photography, in particular, shaped his understanding of anatomy and movement, while the Japanese woodblock prints he collected early in his career inspired his use of bold lines and floral patterns. “What’s exciting is that later generations of Japanese artists, especially in manga, were looking back at Mucha and using his style as their inspiration,” Bodle says. “So it makes this lovely circle, where you can trace other cultures’ interpretations of Mucha directly back to his art.” The exhibit also explores Art Nouveau’s revival during the countercultural movement of the 1960s and ’70s. It’s not difficult to see how some of the most famous psychedelic rock posters and LP covers for bands like the Grateful Dead and Diana Ross & the Supremes harken back to Mucha. His influence is also evident in video game art and in covers for Marvel Comics, with their distinct geometrical shapes, curvy lines and foregrounded main characters. The show sheds light on the inimitable style that made Mucha timeless: a compelling harmony of classical and modern art. His work transcended time and cultures, conveying a moral and spiritual depth that spoke to wide audiences. He believed art should be enjoyed by everyone; that, as much as his singular skill, defines his legacy.
Timeless Mucha: The Magic of Line is on view until March 01, 2026, at the Boca Raton Museum of Art. bocamuseum.org
DACHA GIN & PIEROGI by abel folgar
If West Palm Beach had a summer house in the clouds, it’d probably look like Dacha Gin & Pierogi. Perched on the rooftop of The Hacienda, the city’s newest downtown food hall, Dacha is the latest concept from Ilya Tatarov, a familiar face in the SubCulture Group’s ever-evolving nightlife constellation and a guy whose energy is as crisp as the drinks he’s about to pour. “The hospitality industry is honestly where I shine,” Tatarov tells PureHoney. “Anyone that knows me can tell you I love socializing and connecting with new people. It’s where my humor is tolerated (for the most part), and where I can absorb all the knowledge and experience to help my vision of Dacha become a reality.” Supported by longtime collaborator Rodney Mayo, Tatarov’s Dacha bridges continents and memories. “In Eastern Europe, a dacha is a summer house,” he explains. “For my wife and me, summer means enjoying a botanical gin drink. I wanted to blend my Belarusian heritage and her British heritage into one concept.” The result is a rooftop refuge where gin takes center stage, but never the same way twice. Dacha showcases gin cocktails by country, with botanicals and ingredients unique to each. “There’s so much to explore in the flavors and complexities of gin,” Tatarov says. “Our focus is to open people’s minds to associating gin with multiple nationalities.”And because no good drink should go it alone, Dacha pairs its spirits with pierogies — “easy yet elevated comfort food after imbibing,” Tatarov says with a laugh. Expect the menu to rotate like the turntable in a vinyl-only DJ set, because that’s part of the plan too. “We’re very event heavy,” Dacha’s says. “Expect everything from jazz to DJs, every day will be a different program. And we’re especially excited about our Tea Dance Drag performances on Sunday afternoons.” Once you’re there, Dacha promises what every great summer house should: Good company, better drinks, and a view worth lingering over. Dacha Gin & Pierogi Bar opening first quarter of 2026 atop The Hacienda on 522 Clematis Street in West Palm Beach. @dacha_gin_bar
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LA POBRESKA by tim moffatt
Ska and punk have a conjoined history that, according to ’70s music lore, harkens back to Don Letts spinning dub and reggae records at The Roxy nightclub in London to fill a void at a down moment for early punk. This coupling, possibly strange on its face, nevertheless brought outcasts and protest music together in a way that suddenly made perfect sense. Hence, The Clash’s forays into Jamaican music, the output of The Slits as well as The Specials, Madness and more who would, in turn, open doors for John Lydon after the Sex Pistols to extrapolate dub into PiL with bassist Jah Wobble.
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Those records also crossed the pond, igniting a movement that coalesced a decade later into the greatest ska-punk band ever, Operation Ivy. In racially diverse and sprawling California, Op Ivy’s long wake inspired countless ska-punk amalgamations. Enter La Pobreska, formed in 2004, mixing ska punk with East Los Angeles Latin roots to create a musical blend with deeper grooves and faster, more brutal punk breakdowns — akin in some respects to Voodoo Glow Skulls but, like the best of the bands above, bearing their own special sauce and personality.
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With masked immigration agents licensed by the White House and the Supreme Court to racially profile and arrest non-white people, it’s bracing to have protest songs in Spanish played with ferocity and integrity. In heated times, the appropriate soundtrack is one of defiance, passion and authenticity, coupled with the ability to have fun. Somehow, the America of today mirrors that of the 1980s (and later eras), when cultural warfare led to certain people being demonized as outsiders and threats.
T PALM BEACH, FL 33405
But we made it through that time, with some scars and amazing, unparalleled art to show for it. We’re still a melting pot, whether those in power like it or not. The only place that is as representative of that cultural fact as Southern California or New York City is South Florida. So let’s make our comrades from the west feel welcome, and toast to everyone in all the places that made this great convergence happen. La Pobreska open for Leftover Crack 7pm Saturday at Respectable Street in West Palm Beach. lapobreska.com
SETH OLENICK
LEFTOVER CRACK by abel folgar
“Ever since I’ve started writing and Two decades and change into an apocalypse they’ve been warning about since year zero, New York’s Leftöver Crack still feel like a roving resistance cell: a loose family of ska-core survivors armed with distortion, gallows humor, and hard-earned political clarity. But what about the movement that spawned them? In conversation with PureHoney, frontman Stza questions how punk rock and radical activism are faring today, years removed from a downtown scene of hand-printed zines and all-ages shows centered around Tompkins Square Park and the squatter strongholds of the late ’90s. “I feel like the political DNA of punk has been eroded at a fast pace ever since I can remember,” he says. “I’ve noticed a dangerous lack of punk bands with politically relevant content.” Leftöver Crack’s forté is dispatches from the underbelly of empire, songs combining staccato verses, roaring refrains, anti-imperialist rage and street-level storytelling that resonates far beyond the band’s old Alphabet City haunts. When their second album, Fuck World Trade, dropped in 2004, its warnings about American hubris — couched in 9/11 imagery — felt incendiary. Now they’re part of the discourse, and an album that retailers once banned is on streaming services. Stza bears scars from the backlash he faced back then even among ostensible allies, but hindsight has only sharpened his viewpoint. He describes a modern world awash in 9/11’s and false-flag atrocities, both utilized to entrench oligarchy. And he wonders about the state of the mobilization against these forces. “If the left-wing activist culture is going to cherry-pick their causes to fit their own agenda of empowerment while avoiding confrontation with the real enemies, things will get increasingly worse,” he says. “All I see is every honest and sincere effort to change things destroyed by people postering for a spotlight,” Stza elaborates. “I tried to help and paid a price that is impossible for me to put into words. I hope someone can come along and expose not only corporate corruption but also the activist corruption, and remain immune from being vilified and ostracized.” Leftöver Crack and openers La Pobreska play 7pm Saturday, January 17 at Respectable Street in West Palm Beach. leftovercrack.rocks
PHIL M
THE LEMON TWIGS by erik kvarnberg
It’s no secret why The Lemon Twigs caught on so quickly. The sibling duo from New York’s Long Island came out of high school a decade ago with a record deal and a stunningly grown-up sound: Right away, they captured the tight melodies of early Beatles, the far-off haze of late Beatles, the effortless cool of Big Star and the restless imagination of The Who. Fast forward, and Brian and Michael D’Addario are poised to release their sixth studio album — seventh if you’re counting their homemade 2014 cassette. Older brother Brian tells PureHoney the live band (typically a quartet) will roll out new songs alongside material from recent releases at Churchill’s Pub for The Lemon Twigs’ Miami debut. “We’re really looking forward to playing there for the first time,” Brian says. The bar was set high when The Lemon Twigs arrived with their 2016 debut album, Do Hollywood. There were television performances and festival dates, and raves from the likes of Iggy Pop and Questlove. They followed up ambitiously with 2018’s Go To School, a jangly musical in concept-album form about a chimpanzee raised as a human boy. They’ve continued to grow. The Lemon Twigs can pull out Supertramp, Elliott Smith, Beach Boys, The Zombies, or The La’s at will. They can be Magical Mystery Tour and Rubber Soul in the same song. “It feels like every song’s an opportunity to write something better than the last thing you’ve done,” Brian says. Their previous album, 2024’s A Dream Is All We Know, was a full distillation of their ’60s-hit-writing sensibilities and knack for turning head-bobbing into a condition. In 2025, Brian released a solo album, and the brothers joined with their musician and songwriter father, Ronnie D’Addario, for an album of Ronnie’s songs, called Written By. Guests included rock icon Todd Rundgren and former collaborators of the late Beach Boys impresario Brian Wilson. “We’d been working on the album for a while and getting other people’s contributions made the project exciting for us again,” the older sibling recalls. “It was very nice of them to say yes!” The Lemon Twigs perform 8pm Friday, January 23 at Churchill’s Pub in Miami. thelemontwigs.com
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