PROPAGANDA: Dogsmiles, Razor & The Boogiemen, Slimers, Thudge
CHURCHILLS PUB: Gooseberry “ASE” + The Lab, Orange Blackheart
ZEYZEY: Party Pupils
CULTURE ROOM: VNV Nation
4/18
DELRAY BEACH HISTORICAL SOCIETY: Twilight in the Garden
MIAMI BEACH BANDSHELL: Mind the Music
ZEYZEY: Vieux Farka Toure
CHURCHILLS PUB: Crown of Thorns
4/19
RESPECTABLE STREET: Mountain Grass Unit
MIAMI BEACH BANDSHELL: Whiskey Run MB
ZEYZEY: Kaytraday
4/20
CHURCHILLS PUB: Kitty Craft
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
4/21 THE
CULTURE ROOM: Lacuna Coil, Escape the Fate, Axty
ZEYZEY: Bolden
4/23
THE PARKER: Ottmar Leibert, Luna Negra
REVOLUTION LIVE: Two Feet
NEW WORLD TAMPA: Chameleons “Arctic Moon Tour”, The Veldt
THE PEACH: Art Talk @ Fine Art, Live Art + Talk
4/24
PROPAGANDA: Rize
ZEYZEY: Lotus Collective + Cheo
4/25
RESPECTABLE STREET: Chameleons “Arctic Moon Tour”, The Veldt
PROPAGANDA: Blabscam Album Release Propaganda Anniversary Party
4/25-26
MIAMI BEACH BANDSHELL: Bandshell Beachclub ft Sudan Archives, Los Mirlos, Leifur James, Rio Kosta, Boogarins ft Adrian Quesada (Black Pumas), Baile Funk Cumbia, The Smoogies, Dude Skywalker, DJ Nikita Green, DJ Sombra, DJ Danny Buckwell
4/26
ZEYZEY: Goldford
4/27
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
4/28
THE PEACH: Come Paint w Me, Taco Tuesday
4/29
MIAMI BEACH BANDSHELL: Orphaned Starfish Foundation
THE PEACH: Artist Talk & Critique, Play with Clay FMS CREAMERY: Sweet Sessions w Big Nance x ShangriLa Collective
PROPAGANDA: Electrosonic Workshop
4/30
ZEYZEY: Alex Ferreira
4/30-5/10
LW PLAYHOUSE: The How and the Why by Sarah Treem
4/30-5/24
THE WICK THEATRE: The Cher Show
5/1
ZEYZEY: La Lom
5/2
STUDIO 1608: “POV: A Shift in Perspective”
5/7
RESPECTABLE STREET: Old Time Sailors
5/8
MIAMI BEACH BANDSHELL: Cortadito, Aymee Nuviola, Roberto Torres, Ronkalunga, Sanba Zao, Morikeba Kouyate, Toto Omana, Michelle Fragoso, DJ Le Spam
A zine is technically a small-format, DIY published booklet about anything for any reason or subject. But even that wide-open description is too narrow to encapsulate the offerings of the Miami Zine Fair, which welcomes anyone and everyone to the tactile pleasures of printmaking and publishing in almost any form. Launched in 2015 by experimental publisher EXILE Projects and O Miami’s Poetry Month, the Zine Fair carries the idea of creativity off its pedestal and places it within anybody’s reach. Last year’s fair drew about 2,000 visitors and 70 exhibitors. Expansion was inevitable.
This year’s edition — also free and all-ages — will have 100 exhibitors gathered at Paradise Plaza in Miami’s Design District. As fairgoers peruse the work of artisans from near and far, they’ll all also have access to a curated presenter lineup showing how these small wonders are made through hands-on, how-to workshops. The Zine Fair’s Amanda Keeley shared several highlights with PureHoney, including Josefina Seba, a Barcelona-based maker of elaborate 3-D publications who will walk fairgoers through her techniques, enabling them to create their own unique paper atmospheres.
There is Lara Cahill-Booth, who will lead Dear Future. Participants can engage in playful thinking and self-directed creativity to compose speculative microfiction about evolving environments, and create postcards sharing “memories” from Miami in the year 2075. Activist, journalist, and educator Nadege Green, from Black Miami Dade, will lead a Black Miami collage workshop using archival images, in a historical teach-in meets art-making session whose participants will leave with an 8x11 piece of Miami history they have a hand in creating.
Artist Alex Belardo Kostiw is producing Kaleidocycle: A Neverending Zine, which explodes linear narratives through — as the name suggests — cycling, kaleodoscopic zines. The workshop demonstrates how artist zines weave content, form, and interactivity to forge new narratives. Participants will get to dream up a short story about a cycle of change and craft it into a four-page kaleidocycle. Keely also sounds very excited to welcome Michele Oka Doner to the fair for a reading and signing of her new zine, “Hello Whale,” and a screeing of its companion documentary.
The Miami Zine Fair runs noon-5pm Saturday, April 4 at Paradise Plaza in the Miami Design District. miamizinefair.com
March 26 - May 9
BANDSHELL BEACHCLUB
by abel folgar
There are festivals where you sprint from stage to stage, clutching a schedule like a lifeline. And then there are weekends like Bandshell BeachClub, where the tide sets the tempo and the only real plan is to let the music pull you in.
Set against the open-air curves of the iconic Miami Beach Bandshell, Bandshell BeachClub is a two-day celebration of seaside living and forward-thinking sound. Designed as an immersive daylong drift rather than a frantic dash, the festival moves fluidly through psychedelic cumbia, soul and funk, experimental r&b, atmospheric electronic, and modern Tropicália. Attendees are encouraged to wander from stage to shoreline and back again, dipping into the Atlantic between sets, returning for golden-hour grooves, and settling into the evening as lights shimmer against the ocean breeze.
“I’ve always admired the cultural programming at the Bandshell and its unique position right by the ocean,”
Henrique Fares Leite, a Brazilian music tech executive, tells PureHoney of the festival he is creating with Laura Quinlan of Rhythm Foundation, the Bandshell’s programmer. “When you stand there, you realize it’s one of the rare places where music and beach culture can naturally become one experience, where live music, DJs, art, and the rhythm of the beach all flow together.”
The lineup reflects that sun-soaked, borderless ethos. Electrified violinist Sudan Archives , in her South Florida debut, folds West African influences into futuristic, genre-bending soul. Peru’s legendary Los Mirlo s deliver hypnotic Amazonian cumbia that feels tailor-made for a humid Miami dusk. Leifur James , in his U.S. debit, deploys cinematic electronic jazz. Rio Kosta and Baile Funk Cumbia keep the dance floor kinetic and global.
For psych heads, Boogarins , featuring Adrian Quesada of Black Pumas , may be the weekend’s most transportive moment. Formed in Goiânia, Brazil, Boogarins swirl electric guitar textures and woozy harmonies into a distinctly tropical psychedelia. Played alongside undersea visuals by environmental artist Beatriz Chachamovits , their set will be a collective hallucination. Says Quinlan: “We want people to share our love for the ocean, discover new music, and of course dance their feet off.”
Bandshell BeachClub takes place 3pm Saturday and Sunday, April 25-26, at the Miami Beach Bandshell in Miami Beach. miamibeachbandshell.com
LOS MIRLOS
RIO KOSTA
SUDAN ARCHIVES
ERICA PRINCE
by sean piccoli
The pathways that led Erica Prince and Melissa Delprete to South Florida, and into a mutual orbit of art, will look familiar to any local transplant with a story to tell about how they got here. But the bond between these two artists runs deeper than geography. Prince, a full-time faculty member at Dreyfoos School of the Arts in West Palm Beach, and Delprete, owner of mtn space art gallery in Lake Worth Beach, have found life experiences in common and intersecting views on art and the value of building community around their work.
Now they’re collaborators in Prince’s first solo exhibition at mtn space: “It Takes YEARS to Grow a Pineapple,” a collection with two distinct but overlapping strands. One consists of colorful, often tropical mixed media images that grew, in a manner of speaking, out of real plants transformed by Prince’s process. The PureHoney artist of the month explains: “They begin as monoprints, where I essentially make arrangements out of actual plants and then smash them through a printing press. So they begin as ghost images of plants that have been literally like blown apart and deconstructed.”
“I mean, in one sense, I’m making a composition, but in another sense … I don’t know what it’s going to look like,” Prince says. But the smashed-plants template for these annotated works is only one step toward finished compositions. “It becomes a starting place for me to respond, and solve the puzzle of the arrangement,” Prince says. “It begins with these parameters that I have limited control over, but then it’s about illuminating them and bringing them to life through drawing afterwards.”
The other strand of Prince’s “Pineapple” work is a series of vaselike sculptures that seem both approachable yet otherworldly, their weird, corporeal shapes — like alien hanging fruits or hearts with extra valves — sometimes echoed in Prince’s dreamlike floral illustrations.
Prince and Delprete met through a mutual acquaintance: past PureHoney artist of the month Tara Booth, who was a student of Prince’s when Prince was in Philadelphia teaching at the Tyler School of Art & Architecture. “She and I just kept popping up in the same circles,” Delprete says. “And I really liked her work.”
Delprete paid visits to Prince’s studio and included her in last year’s mtn spaceship group exhibition (“mtn” is short for mountain).
Though the two lead separate lives, Delprete says she also felt a sense of alignment with Prince in areas beyond art. “She’s a mother and I’m a mother, and we’re both artists, and we’re both navigating, creating and making in this time of caring for another person.” That other person, for both Delprete and Prince, was an ailing parent nearing the end of life. Delprete says her late, “extremely entrepreneurial” father, had always urged her to really commit to her artistic ambitions, including the possibility of being a gallerist. When she resettled here after living and teaching ceramics in Seattle, Delprete says she didn’t want to stand up a “vanity gallery” showcasing herself. But an opportunity to take over a storefront on Lake Avenue — the original mtn space location — presented itself, and Delprete jumped.
mtn space today occupies a small, flat-roofed building a short walk away on North M Street. From there, Delprete presents works by emerging and under-represented artists who show a deep and disciplined commitment to their craft. She also wants mtn space to register with the viewing public as a place of inclusion. “Some of the larger art galleries, they’re impressive and beautiful, they’re showing amazing work. But there’s this sense where it’s not as welcoming as I’d like,” Delprete says. “That was always, part of my mission: How can we make a space that is still elevated but approachable?”
She’s found the area hospitable for her pursuits. Prince agrees that Palm Beach County is a good fit for artists and gallerists alike. “I feel like things are changing very fast,” she says. “I’m involved with New Wave Art Wknd, which is like a residency program that is about the culture of West Palm Beach an art center. And The Bunker is here, and there’s incredible galleries that have moved here. So it feels like things are happening.”
Erica Prince’s “It Takes YEARS to Grow a Pineapple” runs March 26-May 9 at mtn space in West Palm Beach. erica-prince.com, mtnspace.com
pHOTO bY NICK ANGULO
BUZZCOCKS
by david rolland
What must it have been like to be a young American in the autumn of 1979? You had your choice of seeing Apocalypse Now or Nosferatu in the movie theater, a six pack of beer cost $3, and Singles Going Steady by the Buzzcocks came out.
How jarring would it be to pick up the first official Buzzcocks U.S. release to hear a band sounding so fully formed? Listening to Singles Going Steady now it feels like a punk rock jukebox delivering one perfect hit of adrenaline after another.
The album compiled the British band’s first eight singles and b-sides recorded from 19771979. You had the juvenile rush of “Orgasm Addict,” followed by the energetic gang anthem “What Do I Get.” Side one ended with a “Harmony in My Head” that perfectly melds urgent angst with a sing-along-melody like a 1970’s ancestor of a Pixies song.
You had to get to side two for the tune that has probably aged the best in “Why Can’t I Touch It.” More glam rock than punk, it stretches out the groove, building up the listener’s anticipation as frontman Pete Shelley emotes each lyric with more longing than is probably healthy. At six minutes — jam-band length compared to the Buzzcocks’ customary three minutes — it still feels too short.
South Florida can relive the kinetic feeling of all these classics when the Buzzcocks play their first South Florida show since a local date in 2003 and a Warped Tour flyby in 2006. With Shelley having died in 2018, fellow singer-guitarist Steve Diggle is the one constant from the band’s nearly fifty-year existence.
Recent set lists from their European tour in February show a band that doesn’t skimp: They perform a couple dozen songs each evening, including tracks from a new album, Attitude Adjustment, that came out in January. But all the oldies are represented, too, reminding long-time listeners that they fell in love with the punk rock band they should’ve.
Buzzcocks with special guests Redd Kross and opener Conan Neutron & the Secret Friends play 7:30pm Thursday, April 2 at Culture Room in Fort Lauderdale. buzzcocks.com
JOHN WATERS
by olivia feldman
The writer William S. Burroughs had good reason for dubbing John Waters the “Pope of Trash.” The filmmaker may have impeccable personal style, but his contrasting penchant for filth and the forbidden cemented him as the father of cult cinema. Far from resting on his tawdry laurels, Waters is hitting the road with a one-man comedy show that promises to shock, awe and be unapologetically him. Lucky us, he’ll be performing and celebrating his 80th birthday on the same day in Miami.
Waters’ fascination with villainy began in his boyhood days in the Baltimore suburbs, holding violent versions of Punch and Judy puppet shows at birthday parties at age 12. Gleaning inspiration from his surroundings, he and childhood friend Divine created short films on his front lawn — the “Dreamland Lot” — and ultimately drew together a band of misfit suburban kids like Mink Stole, Mary Vivian Pearce and Edith Massey
With the release of 1972’s outrageous Pink Flamingos, Waters ushered in an era of underground film, and followed up in the 1970s with Female Trouble and Desperate Living. Even after Waters went mainstream, his movies still retained his trademark tackiness, with Polyester, Hairspray, Cry-Baby and Serial Mom all celebrating downtrodden, unconventional protagonists.
Part of this year’s Miami Film Festival, “Going to Extremes: A John Waters 80th Birthday Celebration” is a high-energy, unfiltered monologue only Waters could conceive and deliver. From right-wing female impersonators and pro-punk conversion therapy to extreme amusement parks and prank guerrilla placement of incendiary bogus book titles (in libraries that recently banned gay children’s classics), Waters is ready to defend humanity at its weirdest. Waters is no stranger to live performance, having previously drawn huge crowds at Bonnaroo and Coachella and regularly hosted the Bay Area Mosswood Meltdown punk rock festival. In a time of highly polarized politics and discourse, here is John Waters — who doesn’t do social media — turning 80 and still going to extremes in his very offline offbeat way.
John Waters performs “Going to Extremes: A John Waters 80th Birthday Celebration” 7:30pm Wednesday, April 22 at the Adrienne Arsht Center’s Knight Concert Hall in Miami. arshtcenter.org
SHE PAST AWAY
by erik kvarnberg
Turkish duo She Past Away combines a moody lyricism in the band’s native language with the stark lines of classic post-punk and the solitary chill of darkwave, updating the stylish gloom of Sisters of Mercy, Siouxsie and the Banshees, Depeche Mode and Paralysed Age
Singer-guitarist Volkan Caner floats a deep, droning voice over hauntingly spare guitar work while partner Doruk Öztürkcan handles all the swirling synthesizers and dancing drum patterns. She Past Away’s most popular song, “Durdu Dunya,” (11.4 M streams), comes from the 2019 album, Disko Anksiyete, bearing a strong resemblance to early Depeche Mode. Disko’s designated intro, “Bosluk,” lowers the listener into an ’80s futurist cyberspace speakeasy — one located under a graveyard. Farther along, “La Maldad” thrums with weird cinematic energy, like an eerie contribution to an imagined Ghostbusters soundtrack with Danny Elfman at the soundboard.
Further back, 2015’s Narin Yalnızlık has a bit more pent-up energy, as if the band was impatient to imprint itself on modern goth. A signature track, “Asimilasyon,” sounds like Caner and Öztürkcan in the throes of possession, with eerie chromatic guitar lines and a ghostly echo. The album also takes a step towards Crystal Castles’ second and third albums, with chirps, blips and drones on “İçe Kapaniş II” that feel like a convergence between Ethan Kath and Jonny Greenwood
With new album Mizantrop, released in February, She Past Away hover closer to the somber glory of Disintegration by The Cure than the witch house of Crystal Castles. Opening track “Içimdeki Düşman” takes the mood of Disintegration’s loping, spiraling classic, “Fascination Street,” and thickens it, dragging it downward another notch with Caner’s low and dreary vocals. A standout on the album, and in the band’s full discography, is closer “İçe Kapaniş III,” a song straight out of 1989 in its dance-focused drum beats. When a voice-like synthesizer brings the song to its peak, She Past Away remove everything but a lonely guitar and sound samples of a peaceful night.
Astari Nite, Traitrs and She Past Away perform 7pm Tuesday, April 14 at Respectable Street in West Palm Beach. shepastaway.org
