CENTENNIEL PARK & AMP: Boynton Beach Night Market - FREE!
MIAMI BEACH BANDSHELL: Cumbia Libre ft
Romperero Sound System, Sonora Tukukuy
EDDIE’S PLACE: Mike and the Bikers, Mala Onda, Killed by Florida
UNCOMMON PATH: EBB + FLOW w Galen Todd Traxler x ShangriLa Collective
ARTS GARAGE: Start Me Up! – Stones Tribute
PROPAGANDA: The Drop Deads, Blabscam, Billy Doom
GUANABANAS: JP Soars & The Red Hots
REVOLUTION LIVE: The Chili Poppers, American Idiots
BANYAN LIVE: Rodeo Afterparty
HARD ROCK LIVE: Disturbed
7/26
BANYAN LIVE: Belmont, Major League, Spite House, All In Ur Head
ZEYZEY: Bobby Nsenga
HARD ROCK LIVE: Vishal Sheykhar
7/28
FILLMORE MB: Lord Huron
7/29
PROPAGANDA: Boulevard Heights, Mad Mellow, Mangrüve, Weepin’ & Wailin
7/30
CULTURAL COUNCIL FOR PBC: Artist Marketplace ft Art Vendors, Live Music, Refreshments, Summer Vibes! - FREE!
PROPAGANDA: Open Mic
7/31
ITHINK AMP: Toto, Christopher Cross, The Romantics ARTS GARAGE: Dr. Gianni Bianchini & Type 1 Trio
GUANABANAS: Electric Kif
ZEYZEY: Simon Doty
HARD ROCK LIVE: Alan Cave
8/1
THE PEACH &. MELODY AVE: Art Walk + Spence’s Bday w Heavy Weights, Raised by Wolves, Muggles, Pop Disasters, Horror Business
WAR MEMORIAL AUDITORIUM: Yeat, Slayr, BNYX
BANYAN LIVE: OZZY OSBOURNE TRIBUTE
ZEYZEY: L’Eclair, Charlie Chimi, Dr. Gabba
CAT POWER
by olivia feldman
To hear Chan Marshall live is to know her intimately. Her voice as Cat Power is feathery, yet earnest and kind, as if you’re listening to an old friend confide. Never one to perform for easy public consumption, Marshall stays true to herself and sings from a place of innermost feeling. It’s a quality that’s rare in contemporary music.
Cat Power started out in the 1990s mixing originals and covers, with the work of troubadours such as Tom Waits and Hank Williams appearing alongside her own lo-fi compositions. But it was her 2006 album, The Greatest, that marked a dramatic departure from the scrappy indie aesthetic of her first decade and an artistic transformation that Marshall is celebrating today with a 20th anniversary album tour.
Setting aside cover songs entirely for a less direct form of homage to her forbears, Marshall embraced a fuller, richer sound combining soul, indie and country for The Greatest, and recorded the album in the soul music capital of Memphis. The result was a beautiful blend of her melancholic songwriting with lush, gospel-y arrangements, the timelessness of soul imbued with a stark air of confession.
The title track, with its unsparing inward gaze, is relatable to anyone engaged in the struggle to find themselves: “Once I wanted to be the greatest / No wind or waterfall could stall me / And then came the rush of the flood / Stars of mine turned deep to dust.”
This tour has Marshall fronting a band of indie all-stars, Dirty Delta Blues, whom she’s worked with before (though not on the original sessions for The Greatest). Another present for her fans is Redux, a three-song EP released in March featuring covers of “Try Me” by James Brown and “Nothing Compares 2 U” by Prince along with a reworking of “Could We,” from The Greatest.
Slightly harder with a heavier blues sound, this is the version of “Could We” fans can expect on tour. The local date is also kind of an anniversary for anyone who saw Cat Power play a memorably soulful set at Miami’s Studio A in 2007.
Cat Power performs The Greatest 7pm Thursday, July 16 at ZeyZey in Miami. catpowermusic.com
PAINE PROFFITT
by kelli bodle
From his home in Stoke-on-Trent, England, Paine Proffitt opens up his interior world of goth girls and costumed cats enveloped in diaphanous veils of muted color — a visual callback to a past for which he longs and where his nostalgia masquerades as memory, resulting in beautifully painted vignettes of a lost time.
“I live in a post-industrial town that had its industry and identity taken away decades ago,” says the PureHoney artist of the month. “The local towns have reminders of their past crumbling all around them, old derelict factories and warehouses, smokestacks that haven’t fired in decades, work canals that haven’t seen industry in half a century.
“The past is there, rotting away in the background, while the place tries to move on and find its way again. There is a feeling of ghosts, memories, and lives long gone. You can also see it in old photos … the same places but in a very different time. That gives the place a history and an atmosphere, which of course finds its way into the artwork.”
In this haunted setting Proffitt paints “gothic pieces that have a dark, moody, and mysterious or ominous atmosphere,” he says. “Also, vintage 1920s or 30s pieces with a warmer, nostalgic feel. There seems to be common threads that run through most of my work, which comes from my … feelings of memory, nostalgia, loneliness, isolation, and melancholy.”
“I’ve always been drawn to music, goth imagery, and dark or whimsical themes, so it was only natural that they would creep into the artwork,” he says as he describes his process. “The subject matter usually dictates the direction, mood, atmosphere, and feel of a piece. I’ll come to a painting with a rough subject, a statement, or a specific image in mind.”
In terms of influences, Proffitt says, “Futurism, Art Deco, and the artwork of Marc Chagall, Pablo Picasso, Tamara de Lempicka, and Frida Kahlo, have had a big impact on my work.”
“I like the style of the 1920s and 30s … there’s something very elegant, classy and aesthetically warm about it. But I think there’s also a great sense of memory and nostalgia that comes from the artwork and style of those times,” he says.
On the reception his whimsical women have garnered, Proffitt says, “I tend to paint subject matter from about five or six different pools … mainly gothic, music, 1920s-30s vintage, working life, cats, and the occasional sports piece.
“If you drew a Venn Diagram with all those, none of the circles would touch,” he says with a laugh. “The goths don’t care about soccer, the soccer fans don’t care about cats, the cat fans might not care about flappers, and so on. I’m here spinning these plates for myself and hoping not to lose too many people along the way.
“It was hard to get a following at first,” Proffitt says, “because if someone came to my Instagram because of a goth piece, they might see a piece about the pottery industry in the 1920s or a soccer piece and think, ‘I’m outta here.’ But over time, a few people stuck around and have supported me.”
As for musical influences, “I listen to a wide range of music which spans several genres and eras,” he says. “I like everything from The Cure to Pink Floyd to Arcade Fire to The Smiths to The Cranberries to Radiohead,” he said. “I grew up on early ’80s New Wave, ’90s indie and Britpop, and also love the blues, classic rock, and ’50s doo wop.”
“Last year, I completed a series I called the Bunny Record Collection, looking at about 60 albums that have featured in my life somehow,” he says. “I also want to do more paintings inspired directly from songs … lyrics, the feelings behind the song, my interpretations and reactions to songs, and having the songs be more of a direct inspiration to the paintings. I think music’s going to be my main focus and inspiration in my work now.”
In sum, Proffitt says, “It takes courage to open yourself up and show the world something you created or vulnerably show a part of yourself … that’s beautiful, and it deserves support and respect.”
Find the artist at paineproffitt.com and @paineproffitt
CATHARSIS
by kelli bodle
Artist Angela Yang’s new installation, Catharsis, begins in hell. But don’t be discouraged: Visitors to this three-story, multi-sensory collaboration at 1310 Gallery in Fort Lauderdale will start at the bottom, on a ground-floor space with artwork and music marshaled to portray states of abject loss and despair. From there, figuratively and literally, there’s nowhere to go but up.
Funded by an Artist Support Grant from the Broward County Cultural Division, Yang’s exhibition will guide visitors through the grief she experienced at the loss of her mother. Catharsis also supplies comfort: Visitors on August 1 can access a free workshop (with limited space) encompassing a grief and trauma info session, a movement experience, and a group crafting session. Catharsis features works by Yang and collaborators Cary Daly, Dana Minko, Dan Potvin, Liv Cook, and Hunter Grey. Bracketing the installation is a downstairs DJ set by Nat Smallish and an upstairs performance by Y.K. Hamilton, a.k.a. rapper Jabrjaw
As you enter the building to begin your night in hell (the first floor), you’re immersed in the spiraling stage, where depression sets in and feelings of victimhood and recklessness take over. Installations featuring prescription pill bottles and a soundtrack by Smallish set the scene. The second floor, purgatory, is where the artworks collide and, like Dante, you decide where your soul belongs. You’ll find overtly religious themes here, as a nod to Yang’s mother. “She was very Catholic. Let’s put it that way. Puerto Rican, very Catholic,” Yang tells PureHoney. Ascending to the third floor, visitors meet Jabrjaw. Yang explains why she sees this level as an exemplar of heaven: “[Rapping] is a celebration of self. A celebration of what you’ve been through, where you’ve come, where you are now, and embracing that.”
“It’s funny because I realized that there’s never really going to be a catharsis,” Yang says. “You don’t know whether you’ll ever actually get closure. No one can replace that person or that entity. You can’t just be like, ‘All right, closure and healing on demand!’”
But she’s clearly done the work.
Catharsis by Angela Yang opens with a reception 6pm-9pm Saturday, July 18 at 1310 Gallery in Fort Lauderdale and continues through August 13. @angela_yang_art
THE SOAPGIRLS
by erik kvarnberg
The sibling duo known as The SoapGirls grew up as little busking rock ’n’ rollers playing street gigs around Cape Town, South Africa under the watchful eye of their manager mom, and selling soap to raise money for a favorite cause, neonatal hospital care. But once they signed in their early teens to the industry colossus Universal Music Group, French-born, South Africa-raised sisters Noemie and Camille Debray found themselves being promoted as youthful queens of dance pop.
It was like being “a bird in a beautiful, golden cage,” the Debrays tell PureHoney in a joint email interview. “We wanted to express ourselves, without worrying about being censored or accepted by the mainstream.”They did exactly that with a self-released, punk-powered return to early form: the 2016 album Calls for Rebellion. “We knew exactly what we wanted to do, which was to make a difference and to entertain people,” the Debrays say. “We’ve always been society’s rejects and we proudly wear that title.”
They’ve never looked back. Across four DIY albums, the sisters deliver what can only be described as true “revolt rock” — their own coinage — combining heavy aggression and a bit of radio friendliness to keep the uprising going. “Johnny Rotten,” from 2017’s Societys Rejects, seesaws between feminine and masculine, verse and chorus, and singing and screaming in the dualistic mold of Hole “Breathe,” from 2022’s In My Skin, could be a less macho flavor of ’80s rock or a spruced-up cousin to Plumtree and Le Tigre
A new single, “Running,” previews a forthcoming album. As a song, it just feels good to listen to. As a statement, it’s proof The SoapGirls continue to evolve: If they can do something poppy this well, they can also get heavier than ever. On tour the Debray sisters perform in self-made elaborate headdresses, mod-rock coats, or nothing but body paint. “There’s no better way to entertain people’s ears and eyes than to immerse yourself into the show,” they say. “You are taking them away from the ordinary and the mundane for that moment.”
The SoapGirls play Friday, July 3 at Respectable Street in WPB. theSoapgirls.com
THE FIXX
by tim moffatt
Creating with cohorts is a delicate dance of ideas, will and egos. That ineffable thing that leads to music arises from both camaraderie and frustration, and the productive sparks and tension they generate seem impossible for a band to sustain over the long haul. So it should be said that The Fixx having found a line-up that consistently feeds the muse is a major feat for a crew that’s been around since 1979.
The Fixx have witnessed all the changes in pop culture in the decades since their inception and weathered everything by sticking to a pop-new wave sound that has come to define their era. They have consistently toured and released records, the last of which is 2022’s Every Five Seconds, an album heralded as energetic and reminiscent of the band’s oeuvre without sounding overly nostalgic. Timeless, in other words. That would be impressive for most journeyman rockers, let alone the ones who have stayed nose to the grind touring and recording as they close in on half a century together.
Foundational members Cy Curnin on vocals, Adam Woods on drums, Rupert Greenall on keyboards and Jamie West-Oram on guitars, with early ’80s recruit Dan K. Brown on bass, know what it is they do and they do it well. That’s the thing about finding a core of creative collaborators with a consistent conception: It doesn’t happen often, and even when it does the camaraderie tends at some point to succumb to the frustration. But The Fixx have kept the relationships intact to commendable effect.
They’ve also stayed in the game by keeping their foundational hits — “Stand or Fall,” “One Thing Leads to Another,” “Saved by Zero,” “Red Skies” — in circulation on film and television. Yet licensing alone doesn’t explain The Fixx outlasting so many MTVgeneration peers (and MTV itself as a meaningful force in music). A veteran band that carries on making new music might object to having a latter-day tour cast as a victory lap, but it’s no slight to say The Fixx won the ’80s.
The Fixx play 7pm Sunday, July 19 at Culture Room in Fort Lauderdale. thefixx.com
BELMONT
by amanda e. moore
Whether you’re processing a breakup, rediscovering yourself, or just hunting for your next musical obsession, Chicago’s Belmont are here for you with their tenth anniversary tour for Between You & Me, a rolling celebration of the breakthrough EP that defined the band’s soul-baring identity and colliding mix of emo, pop-punk and hardcore.
Formed in 2014, Belmont have spent the last decade building a sound rooted in melodic hooks, driving rhythms and emotionally focused songwriting. With the masterful Between You & Me, an accounting of relationships and their aftermath, the band wheels through heartbreak, grief, healing, mental health, self-discovery, and moving forward, all in the space of five essential tracks. On “Overstepping,” lyrics such as “Hundreds of things, I’ve never said” and “Take off your shoes while you roam in my head” capture unresolved feelings, while “Solitude” addresses isolation: “While you’re stuck inside your head, I’ve been stuck inside my bed.”
On “731,” the struggle is for self-acceptance: “I’ve been trying my best to feel safe in my skin.” Belmont’s lyrics often sit within the uncertainty of romance, love, and loss, allowing personal reflections to become collective experiences. That achievement has helped to give Between You & Me lasting resonance a decade after its release and kept Belmont’s audience engaged.
Footage online from this tour shows what awaits at Respectable Street: mosh pits beneath the stage, fans bouncing shoulder-to-shoulder, heads moving in unison, and entire rooms belting out lyrics about loss, recovery, identity, and growth. It is the kind of show where emotional vulnerability and physical energy coexist, creating a communal and cathartic space.
Longstanding members Taz Johnson, Jason Inguagiato and Brian Lada are joined on the road by Joseph Mabry of Capstan to round out the ensemble. They perform in the embrace of a highly coordinated lighting production that shifts with the music, bathing the stage in dramatic hues and movement that mirrors the emotional peaks and valleys of the set. The result is an immersive live experience for longtime fans, newcomers and cellphone streamers documenting the connection between band, audience and moment. Belmont play Sunday, July 26 at Banyan Live in West Palm Beach. belmontil.com
