HARD ROCK LIVE: Ringo Starr & His AllStarBand THE GROUND: Mariah the Scientist SUNSET COVE AMP: Stick Figure, Collie Buddz, Iya Terra 6/18 SPACEPARK MIAMI: King Gizzard & the Lizard Wizard SKATEBIRD MIAMI: Wet Mango Fest ft Never Loved, Julia Bhatt, Las Nubes, Cannibal Kids, L’Exquisite Douleur, Dyne Side, Roxx Revolt & the Velvets, Bruvvy, Firstworld, Frogs Show Mercy, Heatboy$, Dirty Rivals, Zion Effs, Brittany Brave, Luis Diaz, Matt Ross DNTN HOLLYWOOD: Art Walk REVOLUTION LIVE: Starset, Red, Fame on Fire, Oni PROPAGANDA: Rude Television GRAMPS: Jay Aston’s Gene Loves Jezebel, Rosegarden Funeral Party, Astari Nite, Laboratory RESPECTABLE STREET: 90’s Party, Night Bulge ARTS GARAGE: Julius Sanna & the Positively Africa Experience: A Juneteenth Celebration HARD ROCK STADIUM: Motley Crue, Def Leppard, Poison, Joan Jett & the Blackhearts FPL SOLAR AMP: Club Quarantine 6/19 REVOLUTION LIVE: Dead Kennedys, The Venomous Pinks, Nekromantix SPACEPARK MIAMI: King Gizzard & the Lizard Wizard GRAMPS: mewithoutyou ITHINK AMP: Styx, REO Speedwagon, Loverboy
6/22 THE PARKER: Joe Jackson 6/23 RESPECTABLE STREET: Psyclon 9, Seven Factor, Our Frankenstein PROPAGANDA: The Shake 6/24 REVOLUTION LIVE: Nirvanna (Nirvana Trib), Audio Echo (Chris Cornell Trib) RESPECTABLE STREET: Afterlife, Cane Hill, VCTMS, Moodring PROPAGANDA: Club Kult Fetish Party ITHINK AMP: Train, Jewel, Blues Traveler 6/25 REVOLUTION LIVE: Otto Von Schirach & The Sucias, Caveman Cult, Roxx Revolt and the Velvets, Bruvvy, K Sos, The Boas, Uhu, Mason Pace, Sagittarius Aquarius, Souls Departed, Rippin Kittin, Lindersmash, Sweetswirl, DegenerateBakas, Saturnsarii HATCH 1121: Island Festival ft Pan Paradise Island Band, Brazilian Drummers, Samba and Stilt Dancers RESPECTABLE STREET: Emo Night Brooklyn PROPAGANDA: Mad Props Comedy Showcase ARTS GARAGE: Gumby Navedo y Su Tumbao Charanguero
7/1 RESPECTABLE STREET: A Wilhelm Scream, Brenden Kelly of Lawrence Arms, Make War ARTS WAREHOUSE: First Fridays PROPAGANDA: Glass Cities, Hadee, Stumble Steady ARTS GARAGE: Selwyn Birchwood 7/2 REVOLUTION LIVE: Take This to Your Grave: Emo w Dirty Rivals RESPECTABLE STREET: Ramones Tribute PROPAGANDA: Don’t Panic!, Mango Juice, Grey Street, Over Mania ARTS GARAGE: Diego Figueiredo 7/3 HARD ROCK LIVE: Steve Miller Band 7/7 REVOLUTION LIVE: Squad House SUBTROPICAL AFFAIRS: In Viridi Lux by Dale Dale ARTS GARAGE: Monique Marvez
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7/8 THE PEACH: Art Walk: Downtown Dreams Opening w Daniel Newcomb REVOLUTION LIVE: Animal Collective GRAMPS: Left to Die, Skeletal Remains, Mortuous ARTS GARAGE: Tal Cohen presents Jewish Jazz ITHINK AMP: Matchbox Twenty, The Wallflowers LAGNIAPPE: April Nicole, Rick Moon, Delusion Bay, Manny Lima, Lukas Puentes
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7/9 REVOLUTION LIVE: Purity Ring, ekkstacy THE PEACH: Art Walk: The Matchsticks, Monaco Slim RESPECTABLE STREET: Gimme Gimme Disco PROPAGANDA: No Name Ska Band, The Shake SUNSET COVE AMP: Ancient Mythology ARTS GARAGE: Otis Cadillac & the El Dorados Rhythm and Blues Revue featuring The Sublime Seville Sisters
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7/11 RESPECTABLE STREET: Born of Osiris, LiveKill, Omnisium 7/12 FPL SOLAR AMP: Coheed & Cambria, Dance Gavin Dance, Mothica 7/14 REVOLUTION LIVE: Blackberry Smoke, Elizabeth Cook SUBTROPICAL AFFAIRS: In Viridi Lux by Dale Dale HARD ROCK LIVE: Chris Tucker 7/15 REVOLUTION LIVE: American Idiots (Green Day Trib), Blink 180 Duex (Blink 182 Trib), Riot! (Paramore Trib) RESPECTABLE STREET: Drag Show PROPAGANDA: Voodoo Monk ARTS GARAGE: JayCee Driesen’s Tribute to Shirley Bassey
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/16 EVOLUTION LIVE: Matt Maeson, aco + Margarita Fest ESPECTABLE STREET: Family Values Tour: SC w/ Deftones, Limp Bizkit NTN HOLLYWOOD: Art Walk ROPAGANDA: Love Kills Joy RTS GARAGE: Dancing in The Moonlight n Evening with Moonlight Thief OMPANO AMP: Whiskey Myers, DShane mith, 49 Winchester B BANDSHELL: Francisco el Hombre, Ceu
/21 EVOLUTION LIVE: Less Than Jake, Bowling or Soup, Cliffdiver, Doll Skin HINK AMP: The Doobie Brothers
/22 ESPECTABLE STREET: IV & the Strange Band ROPAGANDA: Camron Airborne, Blake Yung UNSET COVE AMP: Iration, Atmosphere, he Grouch PL SOLAR AMP: Big Time Rush UBTROPICAL AFFAIRS: In Viridi Lux by Dale Dale
/23 EVOLUTION LIVE: In The End (Linkin Park ib), Products of Rage (RATM Trib) ESPECTABLE STREET: Emo Night Brooklyn ROPAGANDA: The Pop Disasters RTS GARAGE: The Jimmy Vivino Band
/24 HINK AMP: Incubus, Sublime with ROME
/28 ARD ROCK LIVE: Steely Dan
/29 EVOLUTION LIVE: Best of Both Worlds (Van alen Trib), Diary of an Ozzman (Ozzy Osbourne Trib) ESPECTABLE STREET: MASS ROPAGANDA: Klub Cult: Kink Party TX ARENA: Swedish House Mafia
/30 ESPECTABLE STREET: The Darling Fire EVOLUTION LIVE: Rabbit in the Moon, Icey, imball Collins, Monk, AK1200 B BANDSHELL: Miami Girls Rock Camp ROPAGANDA: Mad Props Presents Domedy Dominatrix Comedy) RTS GARAGE: Start Me Up - Tribute to the olling Stones
/31 ARD ROCK LIVE: Daryl Hall, Todd Rundgren
/4 ROWARD CENTER: Buddy Guy, John Hiatt
/5 EVOLUTION LIVE: Carnival of Crue Motley Crue Trib) RTS WAREHOUSE: First Fridays
/6 UNSET COVE AMP: Slightly Stoopid, Pepper, ommon Kings, Fortunate Youth
VENTS@PUREHONEYMAGAZINE.COM DS@PUREHONEYMAGAZINE.COM
NICK RAU
IV AND THE STRANGE BAND
the fourth in a line of kings.
T n S r a c
IV’s great grandfather was none other th crooner. Grandfather Hank Williams Jr. was every Monday night “Are you ready for som albums. But it was seemingly dad, Hank III, m that served as Coleman’s biggest musical in
The four singles IV and the Strange Band h honky tonk and hardcore. “Son of Sin” star and a heavy guitar join the fray, lending a of another troubadour who’s done wrong alongside a lyric about an inbred family tha Down” opens with yodeling and strummed Pilots-style air war hits. Finally, there’s “Stan country of the bunch, but still with enough a
IV waited until the ripe old age of 29 to lean which his beloved great grandfather died in a recent live show in Las Vegas shows an e From under the wide brim of a Stetson, IV str with a drawl. Backed by an electric guitar occasional banjo they provide the soundtrac upcoming debut LP, “Southern Circus.”
IV and the Strange Band play for 18+ 8pm F Palm Beach. ivandthestrangeband.com
DANIEL NEWCOMB by Abel Folgar
DANIEL NEWCOMB
The folks at Nikon knew they had a hit on their hands soon after they released the N2020, their first foray into an emerging market for point-and-shoot autofocus 35mm film cameras, back in 1986. They might also be thrilled to learn of the impact they had on one young man growing up in an old, photogenic stretch of Florida.
Photographer Daniel Newcomb credits his father for sparking his picture-taking dreams by first acquiring the N2020 through a work-points rewards system and then installing a dark room in the laundry room at home. It was all uphill from there for this successful architecture photographer and artist. In a new exhibit, Downtown Dreams,” at The Peach art space in West Palm Beach, Newcomb shows his blend of film and digital photography in a series of images of city cores that inspire him aesthetically while reflecting elements of his commercial work. “My commercial photography is similar to the art side in that, in my work, I create for interior designers, architects and hospitality companies,” Newcomb tells PureHoney. “I basically make photographic art of another artist’s interpretation of space.” His work requires travel, which provides his artistic eye with plenty of locations to photograph. Reminiscing on the Norman Rockwell feel of the Ft. Myers of his youth, Newcomb credits a steady diet of American travel writers oft-associated with/and influencing the Beat Generation – Steinbeck, Bukowski, Kerouac and Fante, among others. Newcomb’s art recalls the poignant observations of a fading sense of community captured in Ben Katchor’s long-running comic, “Julius Knipl, Real Estate Photographer.” Recalling the Ft. Myers of the 70’s, Newcomb points to the apocalyptical abandonment of his community as his coup de théâtre. “I fell in love with the old hotels, theaters, bars, and department stores that were being lost to developers that had too much stucco in their buckets,” he said. “In America we don’t value architectural time periods and cover them up with bad facelifts.” “Downtown Dreams” featuring images and filmwork by Daniel Newcomb, runs 6-9pm
Friday, July 8 at The Peach in West Palm Beach. architectphotography.com
iv and the
strange band
by David Rolland
There’s only the slightest hint in the band name that the front man of IV and the Strange Band descends from musical royalty. “IV,” as you might have spotted, is also the Roman numeral for four — in this case identifying singer Coleman Williams as
han Hank Williams, the legendary country probably just as famous for asking America me football?” as he was for selling 70 million mixing country music with a snippet of metal, nfluence.
have released to date are an amalgam of rts off with old-timey vocals before a fiddle quiet-loud-quiet dynamic to the chronicle g. “Inbred” provides a little banjo plucking at is persecuted by their community. “Deep d guitar before an amplified, Stone Temple nd Your Ground,” the most conventionally aggression in places to open up a mosh pit.
n into a musical career — the same age at a car crash in 1953. But online footage from ensemble that’s comfortably in command. rums acoustic guitar and sings and screams rist, a standing bassist, a drummer and an ck for a rowdy evening with songs from their
Friday, July 22 at Respectable Street in West
EMERY they’re ageless until it’s painfully obvious t
Emery is not one of those bands. They’re in one’s 20s: elder statesmen and keeper band can still carry with aplomb. Forme name, considering — Rock Hill, S.C. — Em the choice of a city with a long record up changes and many years of touring Fest tour with a mix-and-match itinerary o and Solidstate Records: Norma Jean, Aa Watashi Wa, Salt Creek and Idle Threat.
Amongst this group of worthies, Emery ha The Masters of Rock aka Badass Dads Ban deprecation coupled with acknowledgem moms and dads, and their kids, tells you Em honest: It’s a little weird to invite friends ov by the pool, and everyone is in black or and Atreyu, Black Flag and Converge tee it’s no weirder than seeing our parents in Jack hats doing the same. Like a Boomer
MATTHEW REAMER
Emery play with Aaron Gillespie and Respectable Street in West Palm Beach. e
MATT MAESON by Amanda E. Moore
Singer-songwriter Matt Maeson started landing on playlists and lodging in hearts with “The Remixes,” a debut SoundCloud set in 2016 that could almost be heard as the announcement of a career in reverse: remixes first, and “original” versions next. A “stripped,” de-orchestrated take on “Cringe,” from “The Remixes,” one year later drew millions more listeners into this confessional and unsparing figure’s orbit. Maeson’s heavy sweetness as a singer and his melodic intuition as a writer also caught the attention of alt-pop hero Lana Del Rey, who would later team with him for a remix of a remix, if you will: “Hallucinogenics,” transformed from a soulful dance track in 2016 into an aching duet in 2020.
MATT MAESON Maeson’s work is guided by flexibility — treating no version of a song as sacred — and a dead-honest, almost Johnny Cash-like grappling with his faults and his fame. A self-proclaimed believer in a “Most High,” or higher power, Maeson doesn’t shy from spiritual questioning or struggle as he tries to reconcile his Christian upbringing with his rebel streak and align his moral beliefs with a heavenly influence as he lives out a secular alt-rock dream.
As with Cash, fans of Maeson cherish the everyman honesty he has sustained through work that plainly states where his head is, from a pair of reputation-making EPs — “Who Killed Matt Maeson” and “The Hearse” — through the subsequent LPs “Bank on the Funeral” and his new, post-pandemic offering, “Blood Runs Red.” Maeson idolizes his vices until he breaks down — or they break him down — into a state of philosophical quandary. Religious or not, listeners relate openly to his desire to rise above his failings and achieve a higher self — just look at the comments under his YouTube clips. In USERx, a recent side project with fellow Virginia Beach, Va., native Rozwell, Maeson delivers a therapeutic melody on a track called “Heavy Heavy,” as he sings of passing through trauma and wrestling with “the loss of many.” It’s heavy, indeed, for someone who’s only 29 years old. Matt Maeson performs 7pm Saturday, July 16 at Revolution Live in Fort Lauderdale
EMERY by Tim Moffatt
Are you a tail-end Gen Xer, or maybe even a Millennial? Guess what, guys: Our music is the old people’s music now. But don’t reach for the Metamucil just yet or feel like you have to pick out matching burial plots. Aging gracefully and recognizing that youth is wasted on the young is a perk of living; the alternative is far worse. Some bands forget this and keep behaving like that they aren’t.
embracing a role not generally available rs of a post-hardcore ethos that not every ed in 2001 in a town with a pretty good mery quickly headed west to Seattle, and of nurturing bands bore out. A few linelater, Emery in 2022 are on the Labeled of label mates from Tooth & Nail Records aron Gillespie (of Underoath), Oh Sleeper,
ave super-labeled themselves “Emery aka nd,” and you know what? That’s fair. Selfment that the tour merch is now for emo mery have embraced growing up. Let’s be ver to barbecue in the backyard or hang wearing cut-off jean shorts non-ironically es with the sleeves removed. But in context Rolling Stones concert shirts and Panama icon sang, it’s the circle of life!
Idle Threat, 7:30pm Sunday July 10 at emerymusic.com
PURITY RING by David Rolland
PURITY RING
world until now.
Canadian electronic duo Purity Ring waited 18 months to play songs from their latest album in concert. So it’s not wrong to consider “Womb,” although released in April of 2020, brand new. In pandemic-altered time, the Tour de Womb finally coming to Revolution Live in Fort Lauderdale on July 9 after delays and more delays is delivering something that hadn’t fully emerged into the
And the arrival in June of a new 7-song EP, “Graves,” means Purity Ring aren’t asking for Covid dispensations. They’ll have even more new music to draw on for their first tour in five years. The centerpiece on record, as always, is the surreal pairing of Corin Roddick’s driving electro beats and Megan James’ dreamy voice: Imagine German electronic pioneers Tangerine Dream with 21st Century audio capability and Gwen Stefani singing. “Womb” is an optimistic soundtrack for a dreary time, and a soaring James reaches such impossibly high notes that Pitchfork mistakenly attributed her range to digital manipulation. (The truth was almost stranger: James’ voice was actually pitch-shifted downward.) Absent touring, they went into the studio. Out popped a cover of Alice DJ’s ubiquitous club single, “Better Off Alone,” sounding sexier and slightly less familiar; then “Knife Prty,” their contribution to a Deftones remix set; and then, last summer, “Soshy,” a Purity Ring single complete with their trademark irresistible, head-bopping beats and James’ incredible vocals. The accompanying video, swimming with archival footage, evokes a club space where old reels play on the wall while a killer song thumps across the floor. In pre-pandemic 2020 James told DIY magazine about translating “Womb” into live settings: “We don’t have everything figured out and it’s all in drawings at this point, but we really want it to feel warm and quite literal.” Two years later she tells The Complex that touring is urgent to their livelihoods even if it’s not entirely safe “because no one’s wearing masks.” She also said, “I want to be on the stage again, because I love it. I miss it.” Purity Ring perform with ekkstacy at 7pm on Saturday, July 9 at Revolution Live in Fort Lauderdale. purityringthing.com
chris wood by Rob Nieminen
From the day Christopher T. Wood, aka “Woody,” arrived at Palm Beach Atlantic University in downtown West Palm Beach circa 1994, he commanded attention. This enigmatic, skinny twentysomething had a cool factor and a swagger you couldn’t miss as he skateboarded across campus in a Mr. Rogers-styling brown cardigan. The West Palm Beach music scene would never be the same. The Tampa-raised, self-described CHRIS WOOD Florida “crack-a-lack-ah” — with a beat-up Ibanez guitar he called “Log” slung over his shoulder — quickly assembled a band with classmates Bradley Dickinson on bass and Rob Nieminen on drums, and named the pop-rock trio Double Stack Scoobie. A fourth member, bassist Kevin Campbell, came aboard soon after, with Dickinson moving over to acoustic guitar and backing vocals. Drawing inspiration from The Smiths, Depeche Mode, Sugar and The Lemonheads, Woody crafted catchy three- and four-chord power-pop songs played live in local venues such as O’Sheas Irish Pub and Respectable Street, and then on the band’s 1996 EP, “Four Laments and a Smile.” Double Stack Scoobie later disbanded and reformed under a new name, Miracle Strip, eventually adding John Stepp (guitar), Todd Harter (bass) and Billy Lamotte (drums) along with a fresh roster of songs and sounds. Honing his craft, Woody began experimenting with various guitars, amps and pedals in search of the perfect tone — a quest that earned him the nickname “Local Edge” after U2’s sound-painting guitarist The Edge. In the early 2000s, Woody reunited with original mates Dickinson and Nieminen in a new band, eL, led by frontman Jeremy Clark. Wood’s finely made, soaring guitar and infectious hooks pushed the gritty, Britrock-influenced band to new heights. Their slick, self-titled debut album, mixed by Grammy Award-winning sound engineer Charles Dye and production by long-time friend Chris Conner, helped earn them a spot opening for Billy Idol at Sunfest in 2005 on the West Palm waterfront. In recent years, Woody performed with congregations on the PBA campus at Memorial Presbyterian Church and Providencia West Palm Beach, steps from where he got his start. He formed another trio, The Honeycreepers, with local singer-songwriter Sean Hanley and Legends of Rodeo drummer Jeff Snow, covering the many artists that influenced him. By now a father and husband, this family man continued to write songs and re-record updated favorites from his own catalogue. Earlier this year, however, Chris fell ill and underwent surgery that revealed a rare and advanced form of appendiceal cancer. He battled back with chemotherapy at University of Miami and passed away on May 21 with his wife Kerrie and sons Aiden and Avery at his side. “Chris fought like a warrior,” Kerrie wrote afterward on social media. “He was encouraged by the small things and held onto hope.”
MICHAEL MCGRATH by Veronica Inberg The work of painter Michael McGrath forgoes the existential question of, “Why are we here?” and instead asks, “Where is here, anyway?” McGrath’s paintings transport viewers to a realm between life and death, here and there, Earth and beyond. Drawing on paganism and modern spiritualism in everything from witchcraft to Ouija boards, McGrath invites us to communicate with the unknown — but, he says, not too seriously. This month’s featured artist in PureHoney, McGrath is an American artist and painter with a BFA in Fine Art from Ithaca College and a parallel career in graphic design. His most recent work focuses primarily on ideas of mysticism, mythology and religion as well as the history of his environment and surroundings in Rhinebeck, N.Y. Surroundings which, coincidentally, are only four hours away from Hydesville, N.Y., the location where historians believe the modern spiritualist movement began in the United States.
MICHAEL MCGRATH
An online search of Hydesville turns up information about the Fox Sisters, three siblings who could supposedly speak to the dead in ways only they could decipher. As mediums, they held seances to commune with spirits and convinced the public they were less parlor tricks and more wholly divine. McGrath uses similar elements and sleight of hand in his visual storytelling and vocabulary.
Veiled by the unknown while awash with repetitive symbols and tacit meaning, it’s easy to understand why McGrath communicates in metaphor: Floating heads, orbs with eyes, fire, smoke, and skulls recur throughout his body of work; clowns, mushrooms and horses also make frequent appearances. Seen together, these symbols evoke an unnerving fear, kind of like stumbling upon a secretive ceremony of the occult. These fears as well as monsters, weather, insects, gods, and death are all common motifs of McGrath’s work. He examines these ideas and concepts through innocent eyes because, “as adults we tend to take ourselves too seriously,” he says in an interview. In an imagined world where both the living and the supernatural can coexist, it’s unclear what is real and what is a mirage made by gods, ghosts, or magic. In paintings like “Night Negotiations” these fears are represented as ghosts; other work alludes to the presence of specters nearby. Through multiple mediums, such as acrylic, oil, collage, colored pencil and pastels, McGrath layers his work with opaque strokes of shadow and color - mimicking the multiple realms of existence on his canvas. With no discerning vantage point or formal shadowing or depth perception, McGrath has diminished Holiday any differentiation between foreground and background. Together, these techniques allow the mind to embrace the harmony and simultaneity of parallel worlds and live, even just for a moment, in two places at once. Almost all of the fully formed faces we see in McGrath’s work belong to the otherworldly creatures that inhabit the canvas smiling skulls below a campfire, celestial heads as omniscient clouds, the woman in “Magic Transfer” who reaches for the same ethereal orb as her other half. Yet, a majority of the human-like figures either rarely face us or are face-less. With their backs often to us, they become an additional mystery to the work. Whether through a magical trance or by their own volition, these figures will levitate in the forest or conjure flames of a bonfire. Dislocated hands produce thick black smoke and project pink streams of energy from their fingertips. A similar light connects two strangers in “Learning Hypnosis” and emits a highlighter yellow vibe from the hands of a woman on a faceless figure on the ground.
The Gods are Muppets Inviting his audience into his private fears is a powerful and vulnerable position for McGrath. Sometimes going through the fears of someone else allows us to examine our own obstacles head on. Much like the boldness of a child, McGrath has allowed his audience to get in touch with their true selves, find sanctuary in their own power and make room to be their own gods.
McGrath’s work has been recently shown in New York, Germany and Belgium and a solo show at Fir Gallery in Beijing, China. With a growing family and as the owner of a design firm, McGrath is open to new opportunities. Find him online at mmcgrath.com and @m.r.mcgrath
Across decades, Wood influenced and collaborated with a broad range of talented songwriters and musicians on recordings and live shows, from nationally known John Ralston of Legends of Rodeo fame to newer generation, PBA-adjacent acts such as The Transient Friends and the Emily Blaylock Band. The latter two brought Wood on stage at Respectables in February for his last live performances. Referred to as the Elder Statesman of the West Palm Beach music scene by those who knew him best, Woody offered musical direction — often acting more like a producer than a guitarist — and sage advice from a man who lived life to the fullest. But his biggest contribution to West Palm Beach wasn’t his music — it was himself. Anyone who ever played music with Woody or even just shared a meal with him will tell you he was one of the most authentic, kind and funny people they’d ever met. They’ll tell you how their cheeks and sides ached from grinning and laughter after a night of his ingenious, improvisational slang and irresistible charm.
“Chris was loving, forgiving, loyal, kind, generous, and he never met a stranger,” Kerrie wrote in her heartfelt tribute. “He had his own language and an impeccable ear for music. He was the MOST amazing daddy. He loved his family more than anything.” It’s a much bleaker world without our irreplaceable friend. But we’ll fill the void as much as we can with our memories of Chris, and with his amazing music, until we meet again. WE LOVE YOU WOODY!