THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
2/12
THE PEACH: Artist Talk & Critique, Pattern Making 101, Pottery & Palette, Paint & Sip
2/13
MIAMI BEACH BANDSHELL: Lettuce
ARSHT CENTER: Kamasi Washington THE PEACH: Sewing Class
REVELRY: Emo Nite Karaoke
2/14
MIAMI BEACH BANDSHELL: Locos por Marley: Lovers Rock
REVOLUTION LIVE: Gimme Gimme Disco
THE PEACH: Creative Fashion Up-cycling, Wing Man Valentines Day Dating Event
PROPAGANDA: Snake Lounge,Curly Q, Flying Bison Valentines Party
BANYAN LIVE: Buku, WonkyWilla ARTS GARAGE: The Motowners: Ultimate Motown Tribute Show Experience
2/15
LAKE WORTH: Art Wars, The Ultimate Artist Showdown
REVOLUTION LIVE: Emo Prom Forever
REVELRY: The Lovecats – The Cure Tribute Show
CULTURE ROOM: G. Love & Special Sauce
BANYAN LIVE: Born Of Osiris, Within Destruction, Entheos
PROPAGANDA: Kink Night
ARTS GARAGE: The Motowners: Ultimate
Tribute Show Experience
2/16
PROPAGANDA: MAMALARKY, Day Lily, Like Harvey
MIAMI BEACH BANDSHELL: Nicole Yarling
THE PEACH: YOGA
ARTS GARAGE: The Motowners: Ultimate Motown Tribute Show Experience
2/17
2/17
THE PEACH: Comedy Workshop, Open Mic, Drawing Acrylics Class
2/19
RESPECTABLE STREET: Agent Orange, Billy Doom is Dead
THE PARKER: Robert Cray Band – Groovin’ 50 Years
THE PEACH: Artist Talk & Critique, Pattern Making 101, Pottery & Palette, Paint & Sip
2/20
OLD SCHOOL SQUARE: Twilight Tribute Concert: The Cure, Duran Duran, David Bowie & 80s/90s New Wave Tribute
REVOLUTION LIVE: Loe Shimmy
MIAMI BEACH BANDSHELL: Gilmar Gomes
REVELRY: Wax On Wax Off Bring Your Own Vinyl Night
CULTURE ROOM: Matt Nathanson, Rachael Yamagata
THE PARKER: A.J. Croce
MTN SPACE GALLERY: Christina Barrera: Stay Alive, Here In the Dark Where the Future Is & Joey Parlett: Stones and Waterfalls — Opening Reception thru 3/30 THE PEACH: Sewing Class
2/21
MIAMI BEACH BANDSHELL: Krishna Das
REVELRY: Zoo Peculiar Circus Music Outer Space
THE PARKER: Robin Trower
THE PEACH: Creative Fashion Up-cycling
BANYAN LIVE: Yoi Toki
ARTS GARAGE: Cyrille Aimée Quartet
2/22
ARSHT CENTER: De La Soul
MIAMI BEACH BANDSHELL: Dessert Party w Duff Goldman, Drag Brunch w Ana Navarro y Cha Cha
REVELRY: Mark Dubin, Smerks & Nightmares, Julia Avery GRAMPS: Jeff Rosenstock
ARTS GARAGE: Yacht Rock
2/23
THE PEACH: Yoga
ARTS GARAGE: Axes, Herbs and Satchels
2/24
WAR MEMORIAL AUDITORIUM: Wallows
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
2/26
REVOLUTION LIVE: Alexandra Kay
MIAMI BEACH BANDSHELL: Slimane
THE PARKER: Nitty Gritty Dirt Band – Farewell Tour
THE PEACH: Artist Talk & Critique, Pattern Making 101, Pottery & Palette, Paint & Sip
2/27
REVELRY: Revelry-Diculous Comedy Show
PROPAGANDA: Sewerside Bombers
THE PARKER: Little Feat – Can’t Be Satisfied Tour
THE PEACH: Sewing Class
2/28
THE PARKER: Kate Pierson of the B-52s
REVOLUTION LIVE: El Cuarteto de Nos
MIAMI BEACH BANDSHELL: Orchestra Miami, Beethoven on the Beach
RESOURCE DEPOT: Refashion Weekend
THE PEACH: Creative Fashion Up-cycling
PROPAGANDA: Mad Mellow, More Better Band, Not Spices, Sweatpants in Public
When the B-52s crash-landed onto the music scene in 1979, they were anything but mainstream. Singer-keyboardist Cindy Wilson and fellow vocalist Kate Pierson sported mile-high beehives and wailing harmonies. Frontman-hype man Fred Schneider delivered spoken-word verses about partying sea creatures and outer space. Cindy’s older brother, guitarist Ricky Wilson, combined surf twang and a songwriting sensibility that was equal parts Hanna-Barbera and rock ’n’ roll.
The wavy charm of songs like “Rock Lobster” and, a decade later, “Love Shack,” garnered a massive fan base that welcomed the weird, making the B-52s pop-rock superstars. Pierson also branched out, duetting with Iggy Pop on “Candy” and with R.E.M. on “Me in Honey” and “Shiny Happy People.” Now 76, she’s touring in support of her second solo album, 2024’s Radios & Rainbows, sounding as fresh and mellifluous as ever.
They say good things take time, and Pierson has taken hers with solo work. (Her debut, Guitars and Microphones, only came out in 2015.) The result here is a big ball of serious fun. The cover art features a red-tressed Pierson sprawled out on grass, a butterfly ring glinting on a yellow-gloved hand that holds a retro-looking portable radio, Pierson’s abundant locks forming a wreath that’s as vibrant as the album’s music. This is a highly danceable record that reflects on Pierson’s extraordinary life and surveys the tech-powered 21st Century with a mix of wariness and hope.
Her soaring voice is cloaked in audio effects on the opening bars of the title track, and then it breaks through with a sailing melody and a lyric that is both exuberant and cautionary: “Do you know which way the wind blows?/How do we tell the truth from the lies?/Radios and rainbows/The eagle flies.”
Pierson co-wrote eleven of the 12 tracks, reuniting for one, “Every Day is Halloween,” with her principal Guitars and Microphones collaborator, the Australian pop sorceress Sia. Although their new duet, “Every Day is Halloween,” is a song about masking your inner self, Pierson is certainly not afraid to keep letting her freak flag fly.
Kate Pierson plays 7:30pm Friday, February 28 at The Parker in Fort Lauderdale. katepierson.com
TWILIGHT TRIBUTE 80’s
by david rolland
As soon as the weather got nice the Twilight Tribute concert series kicked off at the Old School Square amphitheater in Delray Beach. Every third Thursday of the month has seen bands covering a range of beloved acts, among them arena rockers Coldplay; country stalwarts Reba McEntire and Brooks & Dunn; arena-country queen Shania Twain; and altpop heroes No Doubt and Blondie
For the February 2025 edition of Twilight Tribute, presented by the Delray Beach DDA, audiences can time-travel back to the ’80s without needing a flux capacitor-equipped DeLorean. The performance opens with versatile cover band First Wave performing new wave hits by the likes of Depeche Mode and Echo & the Bunnymen. Next comes LoveSong, fresh off their triumphant performance at Respectable Street in December, to pay full-dress tribute to the greatest of the goth-inspired ’80s bands, The Cure.
When PureHoney spoke to LoveSong last December, they were kind enough to tell us in a lengthy, group-signed email how they do that trick, the one that makes us scream: “We tour all over the country and plan transportation, hotels, and logistics to keep things smooth. We’re constantly working on promo videos, graphics, websites, and social media to keep fans excited. Behind the scenes we fine tune the music in rehearsal, create video effects, update costumes, and add new elements to the show.”
The stage elements include lasers lighting, video art and singer Rusty Wilmot getting completely into Robert Smith persona, makeup, eyeliner and all. For good measure, LoveSong will also step out of Cure character to play some David Bowie and Duran Duran
Count Laura Simon, executive director of the Delray DDA, as one of this series’ biggest fans. “After an extremely successful Summer Sunset concert series, which drew thousands of Delray Beach residents and visitors, we are thrilled to continue the momentum with our Twilight Tribute,” Simon tells PureHoney, encouraging everyone, rain or shine, to bring lawn chairs and dancing shoes for a reunion with the ’80s
Twilight Tribute featuring LoveSong and First Wave takes place 5pm Thursday, February 20 at Old School Square in Delray Beach. tickets.delrayoldschoolsquare.com
LIVE THEATRE & FILM
Feb 5 - 9
Feb 6 - 16
FIRST WAVE
SNACKS
by tim moffatt
The Alabama that gave us Hank Williams, Wilson Pickett, Sun Ra and Gucci Mane is not “The South will rise again” version of that sweet home; it’s the place that’s always been there, turning out some of the most iconic performers in recorded American music. Maybe it’s the abundance of out-of-the-way locales, or the deep-South country heat, but Alabama musicians radiate an attractively tough honesty, like oysters with bits of sandy grit stuck in their shells turning out pearls.
Which brings us to Snacks, who came into being from the remnants of other underground Alabama bands (such as Huntsville garage-rockers Thomas Function), and who represent their surroundings and antecedents in fine Southern manner while drawing on influences from far and wide.
Snacks are playing a show at Propaganda in Lake Worth, presented by your friends at PureHoney. Their sound is a dreamy garage pop with psych tendencies that also travels outside the band-hijacked car port to embrace a range of tones and ideas. In Snacks’ reverb-draped repertoire there are strains of ’80s England’s Spacemen 3 and Jesus and Mary Chain. Alongside that are a whiff of Southern-ness and a ‘60s soul charm that recalls classic records cut at Alabama’s famed Muscle Shoals studio.
Led by singer-guitarist Zach Jeffries, they’re adept at chugging rhythms and jangly guitars, and they’ll dive into a trancey drone mode when the mood strikes. Simply put, they have studied the records of pop royalty and found a way to stick to basics while refashioning the rock template of vocals, guitars, bass, drums and keys. The new Snacks album, Save You (out February 7), is awash in dreamlike vocals, hallucinogenic beats, and pop flourishes that emanate miniature Pet Sounds vibes.
Snacks aren’t trafficking in nostalgia, but they’re capable of sending you spiraling into into your memory banks for those formative experiences that are both physical and dreamlike in recall. Think of your first handful of popcorn, your first summer romance, and endless sun-drenched beach days.
Snacks, with B. Sonnier, Zippur and Beeline, perform 8pm Thursday, February 6 at Propaganda in Lake Worth. 18+. snacksmusic.bandcamp.com
B.SONNIER
JOSHUA WILDMAN
zIppUR
BEELINE
MAMALARKY
by abel folgar
It wasn’t going to be easy for the “Wipeout Gang.” In fact, it was gonna be nonsense — pure malarkey, if you will — if they had ever set out like that. Thankfully, cooler whimsical heads prevailed and the ragtag crew soon rechristened themselves Mamalarky
Originally from Austin, Texas, Mamalarky have quickly carved out a unique space with their psych-rock, lo-fi, jazz-rock amalgam and their playful yet technically skilled approach. Where is home now? “We call ourselves tricoastal because we’re still spread out,” singer and guitarist Livvy Bennett tells PureHoney. “One of us is still in Atlanta, another in Texas, and two of us are in LA.”
Formed in 2016 by Bennett and high-school chums Michael Hunter on keyboards and Dylan Hill on drums, Mamalarky added bassist Noor Khan in 2018 ahead of their debut EP, Fundamental Thrive Hive. A pair of full-lengths for Brooklyn, New York-based Fire Talk Records followed in 2020 and 2022.
“We just never stop, we are always writing and recording,” says Bennett. “I just write so much music. It’s a compulsion and everyone in the band just kind of gives it legs, you know, and throws their ideas at it. Whatever ends up being the most resonant with us as a group, we throw onto the album.”
But the process for recording their third album, for new home Epitaph Records, sounds less random. “This is definitely the most different out of the three records we’ve put out,” Bennett says. “In the past almost every song we recorded has been like an accident but in this next record we like really learned what we want to say and how we want to say it.”
Bennett isn’t exactly sure how Mamalarky landed at the famed punkrock label founded by Bad Religion guitarist Brett Gurewitz. But she feels good about the match and the support she says Epitaph has shown since signing them last fall. And here is some real, wipeout-worthy malarkey: The band has never performed in Florida before! “We’re so excited to meet our Florida fans finally,” Bennett says.
EARLY SHOW! Mamalarky with Day Lily and Like Harvey play 7pm Sunday, February 15 at Propaganda in Lake Worth. 18+. mamalarky.com
DAy LILy
LIkE HARVEy
ART WARS
by abel folgar
Art is WAR! From the Byzantine Iconoclasm and the Protestant Reformation to the removal of the Parthenon Marbles by Lord Elgin, from the Mexican muralists like Diego Rivera to the Danish cartoon controversy, history is filled with instances of art as a battleground over ideology, culture and politics.
But art — or rather, the creation of art — can also be fun and slightly competitive. Consider Art Wars, an annual event now in its fourth year that celebrates creativity, community and philanthropy. This is a live painting competition where artists race against the clock – four hours, to be exact – to create works inspired by the evening’s selected theme while attendees enjoy food, music and local crafts.
“This is the second year in a row that it will be held at Hatch 1121 in Lake Worth Beach, where it has found its permanent home,” Art Wars curator Emmanuel Gonzales tells PureHoney “The theme for the event is determined by a public online vote. Last year’s theme was Flora and Fauna, but we’re excited to see what the community chooses this year.”
Beyond the battle, Art Wars will also showcase DJ duo Brady Beats and The Token Girl. The husband-and-wife team is hot on the heels of their full-length release, Dance With Me, and its high-energy mix of dance and electronic music that references jungle, ’80s synth, and more. The event is proudly supported by LULA Lake Worth Arts and the Lake Worth Community Redevelopment Agency, which contribute prizes to the participating artists.
“I’ve been involved with Art Wars since its inception, and it’s been incredible to watch it grow into a must-attend event,” Gonzales said. “Art Wars is all about supporting the arts, showcasing local talent, and fostering a creative space where the community can connect and celebrate the power of art.”
Gonzales is particularly proud of the artists he selected for this year’s competition. The varied and stylistically different bunch include Brent Bludworth, Nicole Galluccio, Gary Kroman, Bryan Engler, Melissa Mastrangelo, Coral Condy, Daniel Echeverry, Caitlin Whitenton, Connie McKnight, Gillian Sapia, Kayli Marchese, Phil Carlucci, and Hilary Mangel.
Art Wars starts at 6pm Saturday, February 15 at Hatch 1121 in Lake Worth Beach. artwfl.com
POSTCARDS FROM PARADISE III
by abel folgar
Formed in Montreal during pandemic lockdowns, Postcards from Paradise headliner La Sécurité are a collective that doesn’t fit the molds set forth by Crass or the AK Press in the classical sense but rather, punches up the symbiotic nature of needing release and DIY punk ethos. Viens-Synnott, along with bassist Félix Bélisle, guitarists Melissa Di Menna and LaurenceAnne Charest-Gagné, and drummer Kenneth Smith, cut the 2022 single “Try Again/Suspens” for Mothland and immediately followed it up with their wellreceived debut album in 2023, the aptly named Stay Safe. With traces of indie pop, dance punk, and krautrock,.
Joining the fun for the third iteration of Postcards from Paradise, PureHoney’s winter-spring sibling of Bumblefest, will be rising sensations Dunies. These dynamic indie-rockers from Florida’s Space Coast are making waves with energetic live sets and a surf-punk-infused sound. Also known for an enigmatic persona and a playful spirit, Dunies embody a carefree ethos captured in their motto: “Live, Laugh, and Die.” We recently caught them opening for Jacuzzi Boys in Melbourne.
In that same vein are West Palm’s The Dewars, whose dark-humored storytelling weaves apocalyptic plots and colorful characters into catchy, sing-along melodies. The twins’ blend of indie rock with old-timey folk – going strong since the aughts – is a mainstay of a South Florida scene. Also hailing from West Palm are the lo-fi, high-octane garage punkers Rude Television. With a handful of cassette-only releases that are mostly sold out, these returning Postcards from Paradise alumni demonstrate what gumption and a Tascam 488 analog 8-track recorder can accomplish. Local dream-pop shoegazers Disputer will also join the fun, hot on the heels of Override My Mind, their recent EP on Portland’s Pleasure Tapes label. Full of reverb-y guitars and ethereal vocals, this is a band with some serious potential. The Grey Tones, the post-punk, surf-informed darkwave project by the stylish Agent Mar and the Abominable Dr. John will round out the night with their Cramps meets Clan of Xymox vibes.
Postcards from Paradise III feat La Sécurité, Dunies, Rude Television, The Dewars, Disputer, and The Grey Tones, 18+, 8pm Friday January 31 at Respectable Street in West Palm Beach. lasecurite.bandcamp.com
SAM WILLIAMS
by kelli bodle
What connects the retro-futuristic worlds of the video game No Man’s Sky with the sublime landscapes of 19th-century painter John Martin? The answer is Brighton, England-based artist Sam Williams, whose interstellar prints provide an optically intense and eye-stunningly beautiful escape.
A fan of the retro sci-fi look of No Man’s Sky, this month’s featured artist in PureHoney cites video games as an important influence. Part of their appeal, he says, is the gamer’s ability to explore innumerable, imagined planets, each with its own unique aesthetic. “The art design in games can be amazing,” Williams says. “Especially those that focus on style, atmosphere, and design instead of the endless pursuit of photorealistic graphics.”
“I’ve always played video games—from the old 8-bit games of my childhood (so many hours spent waiting for the tapes to load),” he continues. “I love how important the box art was in those old games: the limitations of the graphics meant the packaging had to do a lot of the heavy lifting. Imagination is needed to fill in the gaps, and the box art made for a great jumping-off point.”
Part of the visual appeal of Williams’s work is its economy of design. The prints featured on his personal portfolio page feature bold geometric patterning and strong leading lines, emphasizing the infinity of space. It’s quite a feat to worldbuild at such a level using a minimalist design strategy.
Years earlier on a trip to the Tate Modern with his family, Williams absorbed the overwhelming, sublime landscapes of populist painter John Martin (1789-1854). Known as he most popular painter in his day, Martin captivated audiences with his staggering depictions of natural beauty. Williams cites “the sense of scale, the tiny figures in the foreground dwarfed by massive buildings and landscapes” as Martin-inspired motifs in his own illustrations.
311
Williams’s work has also found favor with musicians. He designed the cover for rock band 311’s album, The Voyager, released in 2019 — a commission that, figuratively speaking, fell out of the sky. “The manager of 311 bought one of my prints and thought my sci-fi-themed work would be a good fit for their new album,” Williams says. “The band liked my work, so I sketched out a couple of ideas, and it went from there.”
“It was a great commission to work on—I love doing album covers, and the band was positive and responsive to my ideas while offering great suggestions to get it in line with their image,” he adds. “Client interaction is important in the success of a commission. Communication is key; otherwise, it can quickly become stale and labored. Luckily, they made it an absolute joy!”
BUNkR
Williams also works hand-in-hand with Brighton electronica artist BUNKR. ”For his covers, he’ll send me a rough mix of the album along with a couple of ideas for the artwork,” Williams says. “I’ll then stick my headphones on and work on the visuals with the album on repeat so I can immerse myself in the atmosphere of the music, so it really feeds into the images. It helps that I love his music!”
Currently, Williams is listening to SORCS 80, the latest from the prolific, shapeshifting California psychedelic punk band Osees. “It’s on regular rotation,” he raves. “They’re the full package: brilliant music, great album covers, and face-shredding awesome live!”
“Music is a huge part of my life — bordering on an obsession,” Williams says. “I don’t have a musical bone in my body, though, but I like it that way. I can appreciate it purely aesthetically, as the technicalities are a mystery to me — it’s like witchcraft! With visual art, a part of me is always trying to work out how it was done. So, with music it’s nice to just enjoy it!”
“At last count, I had nearly 2,000 CDs and a rapidly expanding vinyl collection,” he says. “There’s still so much more to discover! It takes up a lot of space, but I love scanning through the spines until I find something that pops out at that moment. It’s an experience that you don’t get from scrolling through a digital library, and there’s an almost ritual-like element that you get from playing a record. It encourages you to listen to it.” Find Sam Williams at thechunkives.com + @the_chunkives
HOT ROD CIRCUIT
by tim moffatt
Some bands form, make an impact, and call it a day, having said what they needed to say, leaving fans with broken hearts and great memories. And then some bands do that and realize they really miss it, and so do their fans. All this talk about hearts, broken and otherwise, fits right into the emo niche that Hot Rod Circuit helped to define in the late nineties and early aughts. The crest of scene waves can only be seen in the rearview, but the peak of this genre was 1999-2004, coincidentally the same time that Hot Rod Circuit were busy cutting their teeth up until their first hiatus.
In 2007, the band released The Underground is a Dying Breed, which appeared to be a triumphant comeback after a year-long hassle with their former record label; however, the outlook dimmed as Hot Rod Circuit later announced a string of farewell shows. They didn’t disappear entirely, but live dates were scattered and their recordings dwindled to a three-track EP in 2011 and a single, “Default Setting,” in 2017.
For most bands, that would be that. But we are still in media res regarding the topic. Members branched off and had various side projects, but the legacy of HRC loomed. As of 2014, the current line-up of Andy Jackson (vocals, rhythm guitar), Casey Prestwood (guitar, pedal steel), Jason Russell (bass, vocals), and Mike Poorman (drums) has been cautiously playing out here and there.
They toured with Saves The Day in 2019 on the latter’s 20th anniversary tour for Through Being Cool. The new year finds our heroes joining The Get Up Kids in supporting that band’s 25-year road retrospective for another milestone 1999 album, Something to Write Home About. Whether we can expect new music from Hot Rod Circuit is unclear, but for now, they are re-connecting with fans a show at a time. Here’s hoping they see that the world is a better place with legacy emo acts upstaging the pop punks at their own game.
Hot Rod Circuit perform with the Get Up Kids 7pm Thursday, February 6th at Revolution Live in Fort Lauderdale. instagram.com/hotrodcircuit
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KALEIDA
by david rolland
It has to be exciting for a musical act that’s barely a year old to get a song placed in a feature film. Now imagine that movie is the original John Wick, and that’s a hell of a career start for the electro-pop duo Kaleida
Their sparse, catchy “Think” sets the tone for Keanu Reeves’ titular hitman as he shoots his way through a nightclub, executing mobsters by the bunch in retaliation for the killing of his beloved pet beagle. This “gun-fu” sequence from 2014 was so iconic that for the 2017 Charlize Theron action flick Atomic Blonde, Kaleida again provided soundtracking — this time an even sparser, moodier German-language cover of Nina’s “99 Luftballons.” But Kaleida shouldn’t be typecast as songs to watch good-looking actors kill people to. The tandem of keyboardist Cicely Goulder and singer Christina Wood — who met by e-mail and formed the duo in London — make music that alternates between dance fuel and existential worry. “Think,” along with its Wickian pedigree, is trademark Kaleida: club energy folded into a melancholy bop with a quietly desperate lyric.
There’s a muted quality to Goulder’s synth-work on “Aliaa” as Wood floats sharp, observational couplets: “ ’Cause the fight that you won you will never own/It’s for the ones who go unknown.” Even on the celebratory “Ruby,” with its Giorgio Moroder throb and classic drum-machine clap, Wood sings wistfully.
They’re no longer newcomers riding a surprise breakout; Wood and Goulder have an impressive catalog of work and soundtrack credits extending into the 2020s. They’re also both mothers, with lives and obligations often taking priority over music.
Thankfully, the collaboration endures. Kaleida’ newest album, 2024’s In Arms, features ten dark, addictive songs that could liven up any movie scene, with or without mayhem. Wood recently told Electricity Club that the album relates just as much of a story as any big-budget feature film, with the songs “all connected” and the music becoming thematically “clearer, bigger, more colorful.” Amazingly, considering this region’s dancemusic ties, Kaleida’s upcoming show at Respectable Street will be their first ever in Florida.
Kaleida and special guests perform 8pm Saturday, February 1 at Respectable Street in West Palm Beach. kaleida.bandcamp.com
