THE PEACH: Happy Hour, Sumi Ink Painting BAR NANCY: Nicolle Chirino CRAZY UNCLE MIKE’S: Drew Preston Project GRAMPS: Boyscott
1/1 OASIS WYNWOOD: Joe Dwet File, Tvice, Tony Mix, Charlin Bato, Team Lobey, Andy Beatz, DJ Mr Mario, Mr Jim, DJ Yo Babou, DJ Top Feelin, Bibi Netalkole, Mecca AKA Grimo 1/2-5 LW PLAYHOUSE: Winterbreak Theatre Camp, Fractured Fairy Tales 1/3 THE PEACH: Crochet Quick Flick Night BAR NANCY: Strange Bass SANDBOX STAGE: Riff Johnson CRAZY UNCLE MIKE’S: Jaden & Friends 1/4 NSU ART MUSEUM: Mini Muse THE PEACH: Vision Board Workshop BAR NANCY: Hardcore For Punx CRAZY UNCLE MIKE’S: Brenda Johnson PROPAGANDA: Faethom, Pariah 1/5 REVOLUTION LIVE: The Taylor Party THE PEACH: Loejak Gallery Show, Music Under the Bridge ARTS GARAGE: Art of Laughter w Kristin Kay
CRAZY UNCLE MIKE’S: The Flyers NORTON MUSEUM: Plena Es PROPAGANDA: Shehehe, Pauses, The Shakers, Killed by Florida 1/6 MIAMI BEACH BANDSHELL: Alfredo Rodriguez & Friends RESPECTABLE STREET: Maestro Bass Invaders REVOLUTION LIVE: Saved by the 90’s THE PEACH: Fresh Soul Art Walk BAR NANCY: Hellwitch SANDBOX STAGE: Goth Night ARTS GARAGE: Selwyn Birchwood CRAZY UNCLE MIKE’S: Spiral Light PROPAGANDA: Sagitta, Thudge, World Eater, Blistering Tree 1/7 POMPANO AMP: Styx ARTS GARAGE: Arthur Migliazzi Boogie Woogie Piano 1/10 MIAMI BEACH BANDSHELL: Redouane Bougheraba KRAVIS CENTER: America Patchwork Quartet
1/11 MIAMI BEACH BANDSHELL: Miami Jewish Film Festival: Opening Night BAR NANCY: Stereo Joule SANDBOX STAGE: Whereabouts/Bands CRAZY UNCLE MIKE’S: Taj Farrant PROPAGANDA: Improv Night
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1/12 l FILLMORE MB: Elvis Costello & the Imposters, Charlie Sexton MIAMI BEACH BANDSHELL: Greensky Bluegrass RESPECTABLE STREET: The Koffin Kats, Lightnin’ Luke THE PEACH: TV Dinner & Movie Night PROPAGANDA: Dirt Bike, Soul Particles BAR NANCY: Breaking Sound ARTS GARAGE: Steve Leslie Sings James Taylor CRAZY UNCLE MIKE’S: Hairdaze NORTON MUSEUM: Joey Tenuto Blues
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1/13 l RESPECTABLE STREET: Green Jelly MIAMI BEACH BANDSHELL: Horse Meat Disco REVOLUTION LIVE: NWA Paranoia BAR NANCY: Strangelove ARTS GARAGE: Memphis Lightning CRAZY UNCLE MIKE’S: Girlfriend Material GRAMPS: Jacuzzi Boys, Country Westerns CULTURAL COUNCIL PBC: Ahmad Mayes in Conversation w. Greg Stepanich
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1/14 FLORIDA FLOW FEST: Dixon’s Violin PROPAGANDA: Blood Belly, Dial Drive ARTS GARAGE: Choro Das 3 NORTHWOOD WAREHOUSE: Beats & Brunch
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1/17 KRAVIS CENTER: Stella Chen, Michael Stephen Brown THE PEACH: Open Studio, Quick Flick Night BAR NANCY: Misled CRAZY UNCLE MIKE’S: Dan Carlos and the Kameleons 1/19 REVOLUTION LIVE: Dopapod THE PEACH: Music Under the Bridge SANDBOX STAGE: Lemon City Trio, Anemoia ARTS GARAGE: Isle of Klezbos CRAZY UNCLE MIKE’S: Adam Deitch, Brad Miller, Big Yuki, Eric “Benny” Bloom NORTON MUSEUM: Morgan Minsk 1/19-3/2 RESOURCE DEPOT: Waste to Wonder Group Exhibition 1/19-20 PROPAGANDA: Dead Cool, The Palace of Tears, Deep Red, The Abominable Dr.John, Come to Ruin, Rux Vendetta, Vazum, Aggraux Kouture, Dj JAson 1/20 MIAMI BEACH BANDSHELL: Nu Deco Ensemble ft. Joy Okadokun KRAVIS CENTER: Hip-Hop Orchestra Experience ft Ensemble Mik Nawooj BAR NANCY: In a Nutshell, Deep Floyd SANDBOX STAGE: French Horn Collective ARTS GARAGE: Delray Stories CRAZY UNCLE MIKE’S: Grass Is Dead TARPON RIVER BREWING: Gold Dust Lounge CULTURAL COUNCIL PBC: Marilynn Wick in Conversation w. Hap Erstein
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/21 MIAMI BEACH BANDSHELL: Miami olkways: Sounds Like Home w. Bonnie rince Billy, Miami Sound Choir, Inez arlatier & Jan Sebon, Stillblue REVOLUTION LIVE: Bowling for Soup, t, The Dollyrots RTS GARAGE: Renegade
/22 EVOLUTION LIVE: Story of the Year, We the Kings, Youth Fountain
/24-28 MAD ARTS SPACE / ESPLANADE PARK MUSEUM OF SCIENCE & DISCOVERY: gnite Broward!
/24 MIAMI BEACH BANDSHELL: Screenance Miami 10th Anniversary ROPAGANDA: Day Spent, Godseyes, esistor, Fifty Man Mission HE PEACH: Creative Corner Open Studio AR NANCY: Sunny Side Up RAZY UNCLE MIKE’S: PHD
/25 MIAMI BEACH BANDSHELL: Miami ewish Film Festival Closing Night ROPAGANDA: EC Underground ANDBOX STAGE: Regarding Waves RAZY UNCLE MIKE’S: Living the 80’s
/26-3/9 ULTURAL COUNCIL PBC: Sonya anchez-Arias
/26-4/6 ULTURAL COUNCIL PBC: She. Her. Hers.
/26 FILLMORE MB: Mitski EVOLUTION LIVE: In the End (Linkin Park) HE PEACH: Paint & Sip, TV Dinner, Movie Night AR NANCY: Violent Vickie ANDBOX STAGE: Freaky Friday RTS GARAGE: Mitch Woods & His Rocket 88’s RAZY UNCLE MIKE’S: Start Me Up! A olling Stones Tribute NORTON MUSEUM: Dog House Theater RAMPS: Cannibal Kids, Buko Boys, en Katzman’s DeGreaser, Soul Pax
/27 FILLMORE MB: Mitski MIAMI BEACH BANDSHELL: Dumpstaphunk, arina Rykman w. R.L. Cooper ESPECTABLE STREET: Ghost Horses HE PEACH: Love Jones Open Mic RAMPS: Christone “KINGFISH” Ingram AR NANCY: Pans Band ANDBOX STAGE: Open Nerve UNK & FLOW: Light in the Dark Fest ft ohnny Delaware, Mild Wild, Bibi orja, Matt Brown, Delusion Bay, epecc, Glowing Screens, Omavi Waite, ndy Warhead, Solee Arts, Frisson Zine RTS GARAGE: Hotel California RAZY UNCLE MIKE’S: The Chili Poppers
/28 MIAMI BEACH BANDSHELL: South each Sound Healing Orchestra RTS GARAGE: Hotel California
/31 MIAMI BEACH BANDSHELL: The Movement RAVIS CENTER: Twisted Pine ILL YOUR IDOL: Dead On A Sunday, Hadee. HE PEACH: Open Studio, Quick Flick Night AR NANCY: Clover RAZY UNCLE MIKE’S: Life In Technicolor
IGNITE BROWARD by AMANDA E. MOORE
A signature moment repeated often at last year’s IGNITE Broward was the reaction of passers-by to “As Water Falls.” A floor-to-ceiling video wall with a Solar Hive BY Anaisa Franco rectangular pond at its base, the digital monolith from Montreal’s Irregular art studio sent black and white pixels pouring down the screen, to be reflected in the pond, in endless combinations to a continuous sound of rushing water. It didn’t take long for curious attendees, enchanted by the installation’s hypnotic rhythms, to discover that it also responded to their movements. Soon they were fully engaged, waving their arms with cellphones outstretched and watching the imagery transform in real time. They were conductors, choreographers and painters all at once. Guests at this annual convergence of art, technology and interactivity won’t see “As Water Falls” in 2024 (it’s on tour), but here in year three they can look forward to plenty of other experiences that bridge the gap between observer and object and turn spectators into creators. IGNITE Broward is literally twice as large as last year’s edition, with 19 artists and 27 exhibits, and organizers make no secret of their ambition to rival Miami Art Week for regional drawing power. “With more immersive experiences than ever, this year’s IGNITE Broward festival is growing to become one of South Florida’s signature events,” Phillip Dunlap, director of Broward Cultural Division, tells PureHoney. “We’re proud to work with artists from all over the world to shine a light on creativity at the forefront of art, technology, and sound and invite everyone to experience these wonders first-hand.”
Artworks by “imaginators” Ottomata, Anaisa Franco Studio, Scot DiStefano / Verve Multi and more will comprise the large outdoor light Grow a Light Grow a Tree by Tine Bech Studio sculptures and projection map displays on the grounds of the museum and the park in Fort Lauderdale. MAD Arts will host numerous exhibits and workshops where visitors can continue transforming their knowledge and conceptions of art, courtesy of participating artists including Rosanna Kalis, Richard Vergez, OLO Creative Farm, Makoto Tojiki, Jaime Reyes + ReThread, and Josh Miller & Angela Fraleigh. Here are some of the highlights: — Though smaller than Miami Art Week’s Art Basel, IGNITE Broward competes with wellestablished fairs by leveraging the visual and theoretical innovations of artists such as Tine Bech of Tine Beach Studios. Specifics on Bech’s plans for IGNITE were undisclosed as of press time but we anticipate interesting things from the creator of “Illuminated Swim,” which employed Olympic-sized pools as canvases of light and real swimmers as artistic elements in a Mark Rothko-inspired collaboration. — Video installation artist Holly Danger will project art set to electronic music by Tapered Shapes, with guests invited to dance along to shifting technicolor lights and patterns as Danger transforms the surrounding space. — Poet and artist Ana María Caballero will give performative readings projected through 3D holoboxes. Caballero’s subjects include generative AI, Web3, and the intersection of biology, sociology and culture.
Theatre of brain stars by OLO creative farm
— Adding to IGNITE’s Rolodex of intellectual heavy-hitters, Anaisa Franco fuses biophilia, cognitive science and psychology into sensorystimulating public sculptures that illuminate connections between micro and macro worlds. Mad Arts’ MadLabs facility has confirmed rumors — with glimpses on Instagram — of Franco’s “SOLAR HIVE,” a work comprised of vibrant organic shapes to be unveiled at the show. — The Ottomata studio specializes in themes of tactile experience and celestial understanding, and if previous works such as “Ozone” are a guide, whatever they present at IGNITE in 2024 will dissolve any remaining boundaries between art and viewer. “Ozone” viewers would press themselves against the work’s Spandex surface, altering the imagery cast onto the fabric while also triggering sounds, in physical and metaphorical acts of creation for a piece contemplating the cosmological construction of our universe. IGNITE Broward runs Wednesday-Sunday, January 24-28, at Esplanade Park and Museum of Discovery & Science in Fort Lauderdale and MAD Arts in Dania Beach. ignitebroward.com
JAKOB LERCHE
A free, participatory experience open to all who RSVP, the five-day exhibition features light sculpture, projection mapping, audio-visual installations and much more at locations in Fort Lauderdale (Esplanade Park and Museum of Discovery and Science) and Dania Beach (MAD Arts). “Our goal for the third installment of IGNITE Broward is to create the most accessible, immersive experience for attendees of all ages,” says MAD Arts CEO Marc Aptakin.
EBRU YILDIZ
MITSKI by TIM MOFFATT
Some artists seem to emerge from their pupa fully formed. Look at Bjork, Beck, Lady Gaga, Madonna and Tom Waits: Though each has evolved, they introduced themselves to the world with an exclamation point, projecting focus and panache and command of their chosen musical styles from the get-go. Mitski belongs to this singular group who hit the ground running. Born Mitsuki Laycock, she spent her formative years moving around the world with her American father, who worked for the U.S. Department of State, and her Japanese mother. She was inundated with culture, which might explain the diverse nature of her songwriting and performing. However, her ability to lean into eccentricities set her apart from the moment she released Lush in 2012 and put immediately herself in the company of those newcomers with talent, vision and the insight to marshal both. While many people strive for authenticity through a quirk, that’s a surefire way to be seen as fake. If you aren’t weird via nature or nurture, you just aren’t weird, man. That’s okay; there’s nothing wrong with being ordinary. The gift of strangeness is to be embraced and celebrated with productive creativity in any form that plucks the strings of its recipient. In this case, Mitski is a musician with a penchant for artsy pop, folk rock, indie-rock, and, in some cases, experimental prog-rock sensibilities. Her new album, “The Land is Inhospitable and So Are We,” came after announcing her retirement from music on stage in 2019, which followed her retreat from social media that same year. Like seasons and pant styles, things change, and obviously she reconsidered her withdrawal from music and online fame — a welcome development not just for her fans but for anyone with ears and an open mind. The reception for “The Land” tells you the retreat didn’t hurt Mitski artistically. “Playing country-inflected orchestral pop with sardonic wit and deep feeling,” quoth The Guardian, “Mitski underlines why she’s one of the very best singer-songwriters working today.” It’s also clear she was missed. Mitski and opener Tamino play the Fillmore Miami Beach at Jackie Gleason Theater, 8pm Friday and Saturday, January 26 and 27. mitski.com
SOFLA FOLK & ACOUSTIC MUSIC FEST
by ABEL FOLGAR
It is always a stunner when South Floridians are reminded of their honky-tonk glory and the sweet, DAVE NACHMANOFF sweet music that creeps in between the commercial cacophony. PureHoney ain’t talkin’ ‘bout good old boys lost on Las Olas or legendary Florida Crackers of yore. We mean the annual South Florida Folk & Acoustic Music Festival, the crown jewel on the Broward Folk Club’s yearly programming of events. The beekeepers got the moonshine out, ready to reminisce about the 100-year-old stomping grounds of Broward County’s beloved Bergeron Rodeo Grounds, and more importantly, the Folk Club’s dogged mission of promoting folk and acoustic platforms for a local community of musicians and music lovers. Simply put, there is no better venue to display the robust schedule of contemporary folk, jazz, bluegrass, Americana, ethnic folk, and rock music. This year’s festival will showcase Florida-based artists, as well as national and international acts, artist-led workshops, singer-songwriter competitions, jams, arts and crafts, food vendors, camping, and raffles. Local duo Ron and Bari Litschuaer, troubadour Tucker Ronzetti, velvet-voiced Toney Rocks, legendary Americana whiz and seasoned wise-ass Bob Lind, international-flavored Kuyayky, multi-instrumentalist Dave Nachmanoff, among many others, will be joined by a handful of singer-songwriter finalists from the Folk Club’s recent meetups. Most importantly, the festival’s Friday night opening soiree will feature the must-see, up-and-coming talents of youth musicians Nina Marie, Cristina de la Rosa and Ashra Hunt. Attendees who get in the mood can join the fun and perform one or two songs before the youths take the stage since the Folk Club’s vision of community-building would be for naught if the door were not wide open for all. Instruments are also welcome as the jam session will take place for five hours daily, on Saturday and Sunday. Dust off that cowboy hat, tune the gee-tar, get a pluckin’ on them banjo strings, as first week of February is usually the nicest weatherwise and perfect for letting that fine music whisk you away. The South Florida Folk & Acoustic Music Festival runs Friday-Sunday, February 2-4 at the Bergeron Rodeo Grounds in Davie. browardfolkclub.com
GREEN JELLÿ
by DAVID ROLLAND
It’s not unusual for people in show business to adopt a catchier name. Norma Jeane Mortenson became Marilyn Monroe. Brian Warner became Marilyn Manson. What’s rarer is when fame leads to an established act ditching one name for another mid-stream, as happened to the comedy rock band Green Jellÿ. They started out back in 1981 as Green Jellö, DIY troupers from greater Buffalo, New York singing ditties about ice cream and poo on their shoe. Then in 1993 something truly strange happened: Green Jellö became sensations with a screaming mock heavy-metal rendition of the children’s story, “Three Little Pigs.” The claymation video touting the band’s BILL MANSPEAKER “Cereal Killer Soundtrack” album ran riot on MTV, and rock radio gleefully put the single on blast next to Guns N’ Roses and Nirvana. While 13-year-olds across the nation were pleased by this development, Kraft Foods — the corporate parent of mass-market dessert staple Jell-O — most assuredly was not. Facing cease-and-desist demands from Kraft’s big bad wolf lawyers, Green Jellö moved a couple of vowels over to the not-so-trademarked Green Jellÿ (and in true metal fashion kept the umlaut). Safe from further brand litigation, the band has carried on satirically. Green Jellÿ’s latest LP, “Garbage Band Kids,” landed in 2021 as a time capsule of what pre-teen boys found hilarious in the ’80s. The album name and artwork pay homage to the gross-out Garbage Pail Kids trading card franchise. Parody song king Weird Al Yankovic makes a cameo. The music — poking fun at SpongeBob Squarepants and punk rock, among other fat targets — is the sonic equivalent of Cracked and Mad magazine spoofs. “Garbage Band Kids” also upholds the enduring credo of singer, founder and sole permanent member Bill Manspeaker that Green Jellÿ be forever known as the world’s worst band. A crusade for awfulness that saw them gonged off The Gong Show in under 30 seconds in 1988 will have a room full of sweaty moshers knowingly or unknowingly in on the joke here in 2024.
JEN ROSENSTEIN
Green Jellÿ, on their “Three Little Pigs” 30th Anniversary Tour, perform 8pm Saturday, January 13 at Respectable Street in West Palm Beach. greenjellÿ.com
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“We Awesome,’ ” singer and bassist Kelly Ogden appears in everything from a Kohl’s comme — practically demands it be on the set list. Bu for this self-taught, Sour Patch Kids of a ban Florida, and currently on tour with fellow Wa The husband-and-wife duo of Ogden and gu sweet-and-tart repertoire sturdy enough for eig
As the band name suggests — and Ogden sa at play here: Sugar and spite, churning instr spanning the volatile teenage spectrum. Th Gun Kelly’s “Bloody Valentine.” Ogden also lucky breaks. “Maybe it’s because our name than we have,” she says.
They’ve been around long enough to catc blink-182 and Avril Lavigne times, but witho survival. “Night Owls” lives in the present d territory such as navigating relationships ove But certain things are non-negotiable. “We a we have a lot of fans that like what we do,” O Dollyrots.” And what is that? Ogden sums the
The Dollyrots perform with Lit and Bowling For S Live in Fort Lauderdale. dollyrots.com
THE DOLLYROTS
MANDA E. MOORE
k when you were wearing Vans, black eyeliner studded wristbands, The Dollyrots’ all-time ger “Because I’m Awesome” was probably soundtrack of your no-one-understands-me age rebel life. Yet this spiky punk-pop gem from — with a wry take on self-confidence and a toward Nirvana’s ”Smells Like Teen Spirit” — only gotten more unstoppable over time.
always end a show with ‘Because I’m tells PureHoney. The song’s charmed life — it ercial to “Ugly Betty” to “Reaper” to “Billions” ut the irresistible goodness doesn’t stop there nd from L.A., originally by way of Gulf Coast arped Tour alumni Lit and Bowling For Soup. uitarist-vocalist Luis Cabezas boasts a punchy, ght LPs including the brand new “Night Owls.”
ays this was the intent — there is some polarity rumentation and feminine vocals, and lyrics hink Sex Pistols, The Ting Tings and Machine credits the moniker with some of the band’s e sounds like we’ve been around a lot longer
ch the punk-pop nostalgia wave from peak out depending on it for their sound or their day, and topically covers more grown-up er time — Ogden and Cabezas are parents. are not going to change the sound because Ogden says. “The Dollyrots will always be The e band up in three words: “Raw. Rock. Smile.”
Soup Sunday, January 21, 2024, at Revolution
CHRISTY BARLEY
GROUNDUP by TIM MOFFATT
It’s tough to stand out in today’s well-trod festival landscape but GroundUP in Miami Beach keeps putting on a genuine happening of music and global community. Co-founded in 2017 by Snarky Puppy bandleader Michael League, GroundUP 2024 presents another vibrant and eclectic three-day lineup in February capped by sets from League’s genre-jumping, Grammy-winning instrumental crew.
Roots, jazz, fado, Carnatic, Malian, hiphop, rock, steel pan, rumba and more are all in this musical sandbox as genres or influences. A wealth of talent embodying sounds and traditions from all over the Gisela JoAo map make for a welcoming and immersive long weekend on the beach. New York-based Snarky Puppy are both headliner and host — performers and musical emcees with an embracing, exploratory style. Performers include: singer, flutist and festival-designated artist-at-large Elena Ayodele Pinderhughes; trumpeter Etienne Charles & Creole Soul; lutist Bassekou Kouyate with percussionist Weedie Braimah; Portuguese singer Gisela Joáo; Florida-born tenor saxophonist Marcus Strickland with his Twi-Life collective; Louis Cole and his selfexplanatory Huge Band; and Indian singer Varijashree Venugopal. That’s a sample of a lineup with all-star lineage and credits too numerous to recite here. League himself touts Los Muñequitos & Afrocuba All Stars, a first-ever live collaboration between two bands from coastal Cuba that have been friendly rivals for decades: masters of rumba Los Muñequitos De Matanzas and folkloric aces Grupo Afrocuba De Matanzas. “It is a dream to bring together these Cuban bands,” League said when announcing the festival in October. “Their joint performance will not only be a pinnacle for GroundUP but a moment etched into music history.” In between sets there are workshops, panels and masterclasses that give music fans and makers more reason to arrive early and stay late. Besides three headlining sets, Snarky Puppy this year are adding a Friday-night “Family Dinner” performance featuring guest vocalists TBA — one of the festival’s array of limitedticket experience packages. So get your global groove on and leave your spreadsheets at home: Even with two stages, none of the acts at GroundUP have overlapping sets. GroundUP Music Festival is Friday-Sunday, February 2-4, in and around the Miami Beach Bandshell. groundupmusicfestival.com
MARK SELIGER
ELVIS COSTELLO by OLIVIA FELDMAN
most admired songwriters of the rock era.
Elvis Costello’s talent was obvious the moment the bespectacled London lad released “My Aim is True” in 1977. His witty observations and barbs about failed relationships and the pitfalls of everyday work made the LP a hit, and showcased a lyrical intelligence that would position Costello to become a giant — one of the
On the road with The Imposters, his backing band since the early 2000s, Costello tours with access to a songbook of amazing depth and versatility. Musically, he’s shown little fear of experimentation. But he was never a demolition man when it came to crossing genre boundaries. With The Attractions as his formidable first backing band, Costello deployed reggae, punk, rockabilly or balladry in doses to energize early instant classics such as “Alison” and “Watching the Detectives.” He saved the sabotage for the subjects of certain songs — like the music industry gatekeepers of “Radio, Radio.” “Pump It Up,” from 1978, found Costello just as confident with the kind thumping anthem you might shout along to in a sports stadium if you didn’t mind the caustic lyric. His affection for classic ska and soul shined through on the 1980 LP “Get Happy!!” A facility for baroque pop and art rock, and an introspective turn in his writing, elevated two more essential LPs: 1982’s “Imperial Bedroom” and 1983’s “Punch the Clock.” Costello’s talents also led to partnerships with icons such as Paul McCartney and Brill Building pop laureate Burt Bacharach. The latter collaboration got its due with a two-CD retrospective set released, by chance, a month after Bacharach’s death in February of 2023. If you’ve gained the respect of the pub rockers you came up with and the songwriting legends whose company you’ve joined, you’ve done things right. Costello’s influence on younger generations is freely acknowledged. Art-rock titan Thom Yorke called him “my all-time hero” and indie-rock insurgent Liz Phair might have said it best: “Elvis Costello writes novels in three minutes.” Elvis Costello & The Imposters with opener Charlie Sexton play 8pm Friday, January 12 at the Fillmore Miami Beach at Jackie Gleason Theater. elviscostello.com
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MIAMI FOLKWAYS FEST by LIZ TRACY
While folk music might not define the Miami mystique, the folk music scene in the Magic City WILL OLDHAM has long flourished in dimly lit cafes, backyard gatherings, and sometimes on big concert stages. Building on that energy has been a challenge. Laura Quinlan of the Rhythm Foundation says that she and other local music programmers and supporters have been trying for years to launch a folk festival “that really feels like Miami.” “I felt like it was a really, really deep well to explore,” Quinlan tells PureHoney. “There’s just so much fun that we can have with a Miami folk festival.” The idea gets its first test in a while in January with the inaugural Miami Folkways, thanks to the Rhythm Foundation — a Miami-based nonprofit that brings international music to U.S. audiences — and its partners in the new festival: Michael Stock of WLRN-FM’s Folk and Acoustic Music program, former Tobacco Road booker Mark Weiser, and Rebecca Friedman of the FIU Wolfsonian Humanities Lab.
rument Rentals
Premiering at the Miami Beach Bandshell with a theme of “Sounds Like Home,” the festival is free and open to all ages, and it hopefully won’t be the last. “We’re not the first to try to do this,” Quinlan says. “But we’re trying to do it with a Rhythm Foundation stamp, with a little bit of an international focus.” The line-up as of press time includes alt-folk legend and indie film actor Bonnie “Prince” Billy (aka Will Oldham), who was serendipitously in town during the festival date. Also performing are the communitysourced Miami Sound Choir, Haitian-American singer-songwriter Inez Barlatier, and folkrock group Still Blue.
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As far as what to expect from year one at Miami Folkways, Quinlan says, “All of the organizers of the festival are feeling really politically engaged this year, and we were inspired by the tradition of protest through folk music. We hope that feeling of communal activism that has powered folk music for centuries will power our programming this year.”
: PUREHONEY
Miami Folkways: Sounds Like Home runs 6-10pm Sunday, January 21 at Miami Beach Bandshell. miamibeachbandshell.com
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LORI MIRABELLI by KELLI BODLE
For Ottawa, Canada’s Lori Mirabelli, the jump from holding down a day job and making art on the side to becoming a full-time professional artist took years of preparation and bravery. Mirabelli spent 21 years in social work, building the foundation for her future as a painter. “When I lost that guaranteed income, I had moments where I panicked a little bit,” says the PureHoney artist of the month for January 2024. “So I really had to pull back into myself and revisit my history: ‘Why did you want to be an artist? What got you to where you are today?’” A survey of her output today reveals a thriving practice and a body of work with a focus on color theory, and a possibly unexpected source of inspiration. “To be honest, my love of color came from Bob Ross,” Mirabelli says. “Whenever he was on PBS and I caught a glimpse of him, the thing that stuck out to me the most was, he would talk about which colors he was going to mix to get a certain color that he needed. There wasn’t a formula for that. There wasn’t a book that you could purchase to find out what those color combinations were. “For me, that’s what stood out, his ability to understand color to the fullest extent,” Mirabelli says of the late, kindly host of public television’s The Joy of Painting. “He knew exactly what to mix, at what time, to get what color/value/shade/tint he needed. I used to think to myself, as an artist, ‘that’s what I want to be able to do.’ Color and value can really help move your eye through that composition.” South Floridians in particular will appreciate the midcentury modern element in Mirabelli’s canvases. Although they are true abstracts, one can almost see the beginnings of architectural structures taking form — like Modernist buildings viewed through fractured panes of stained glass. Immersing herself in built environments is more than a pastime for Mirabelli, who used to walk her city at night with her friends because it was the optimal time to check out their surroundings. “People would have their lights on and you could see inside the houses,” she says. “It wasn’t that I was people watching; I just wanted to see people’s homes. I still have a love of buildings. Last year I went to New York City for the first time. I almost lost my mind on the buildings, the rooftops, the staircases. I just love buildings. There’s such an elegance, a simplicity that sometimes I think we forget about. When people are looking at flowers and fields, for me, I’m more about buildings and structures and how things are built.” Music is also important to Mirabelli’s creative process. A playlist of some of her favorite tracks to paint to includes Damien Rice’s “The Blower’s Daughter,” Concrete Blonde’s “Everybody Knows,” Aimee Mann’s “Two of Us,” Noah Kahan’s “Stick Season,” Neil Young’s “Harvest Moon” and Chris Cornell’s cover of John Lennon’s “Watching the Wheels.” Mirabelli sells her artworks through multiple galleries and enjoys corporate commissions as well. However, as with many working artists, there are moments of “what’s next?” Alongside her work, Mirabelli has become a prolific social media resource for up-and-coming artists. Her catalog of YouTube videos — covering how to price and sell artworks, ship them affordably and build a brand — are chock-full of actionable tips on running a successful business as a self-employed fine artist. The journey of emotion and thoughtful creativity visible in her abstract art is the heart of her endeavor. She has dealt with the dreaded white canvas syndrome, “where we just look at it and feel nothing. So, I think that the process is to start to scribble. Sometimes that will carry on into to my finished piece.” Her most recent pieces are a portable 12 x 12 inches, filled with a cooler color palette and lots of gestural markings. Mirabelli encourages developing artists to “examine the work you take the most pride in and find out why people were drawn to them.” Balance your “why” for passionate creation with your fans’ passionate “why” for collecting. Find Lori Mirabelli at lorimirabelli.com, on Instagram @lorimirabelli and at youtube.com/c/lorimirabelliabstract-paintings