'Twas another one of those storybook nights for which Miami has long been infamous -- crisp, clear, and sparkling with enough stars to buttress a waning moon. Of course it takes more than merely marvelous skies to get Miamians to assemble anywhere, especially en masse. No, for that you need something truly miraculous. Like perhaps a massive music and art fest featuring a slew of the best and the brightest our town has to offer. Such was the case last Thursday night at Awarehouse, when a buncha wily minds got together and staged an onslaught so resounding it brought gaggles and gaggles outta the proverbial woodwork. Unfortunately, it also attracted the cops.
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Miami’s Finest unceremoniously tried to shut down the proceedings at their peak, but even 5-0 couldn’t put an end to this very impressive evening. The confab was called “Grow,” and it followed the very solid “Rebirth: The Future of Miami,” which took place at Churchill’s during Art Basel. Put into play by Wyatt Meagher (aka YDiz, the producer who also happens to be one-fourth of Telekinetic Walrus and the Pride of Ions), along with a network of electronicists and artists too numerous to name, “Grow” showed that the growth of Miami’s music scene is not only far beyond sprouting, but it’s as tall and as regal as one of our fabled Royal Palms.
The line-up itself will tell you there’s a riot of bloom goin’ on. From the neo-punk play of Askultura (who opened the outside stage) to the binary funk of The Cornerstoners and Elastic Bond (all of whom gloriously upend the traditional), through the rhythmic rumble of Beat Machines (a colliding of Tony Afrobeta and Nabedi Osorio of The State of) and the dub-stepping skip of the ever nimble Mr. Feathers (whose between set spins proved the magic man is capable of anything and everything), the night skies were alight with uncommon cause and camaraderie.
Inside, where the sonic parameters were re-stretched to fit a whole new landscape, the scene’s increasing dimensions were even more spectacular. Lion King opened the show with their patented tech house-like song stylings. And former WVUM DJ Nymania kept the current charged to the moment, so that when OrganicArma and Eden Grey hit the stage with their respective wonderments it felt like 2012 all over again—only better because everyone was in the company of all their many friends.
Then the cops rolled up, shut down the sound and ordered everyone to disperse; or at least they ordered OrganicArma’s Dharma to ask everyone to disperse anyway. As you might suspect, it was an order quite difficult to comply with, even had Dharma been interested in complying himself (and he wasn’t). Dharma did get up on the sound booth and ask if everyone wanted to go. The answer, naturally, was a loud and unequivocal “No!”
Miami’s Finest hung around another hour or so, becoming increasingly frustrated throughout, but they accomplished little. Perhaps the police sensed that a large gaggle was giggling about it all behind their backs back in “the cave.” Or maybe they just couldn’t resign themselves to the fact that this new Miami crowd is much more numerous and cohesive than any Miami before it. And that it’s gonna take more than a few uniforms to break it apart. Whatever it was, the authorities finally realized they have no authority when it came to hearts and minds, and once they left the scene Transoverload and Dave Betamax and a slew of others took to the stage to ensure they never will.
A couple days later, after the dust settled, I took a ride through the desolate wilds west of Wynwood with Dharma, who’s still positively giddy with glee over the festivities and what they mean for Miami. Dharma, you may recall from an earlier BlackBook reading, is one of the minds behind Awarehouse. And it is he and his colleagues who’ve done much to transform our city into the kinda world class metropolis where art is at least as important as commerce—if not more so. Dharma (and Abraxas and Phaxas) also is (as indicated above) OrganicArma, who took its turn onstage and turned it into a revelation. There is a future, they seemed to say, and it is right this minute.
You’re still gleaming, you know that?
I know, I know. Until now, I never would’ve believed there were so many great electronic bands in Miami, bands who are taking risks and pushing the boundaries of the avant garde. I see parallels with the UK’s Underworld, Prodigy and Chemical Brothers, but coming from here in Miami, which gives it a whole new dimension. Transoverload, for instance, are like a techno Rammstein with African/Latin rhythms. It’s electronica, but it’s also incredibly seductive.
How many people would you say showed for “Grow”?
Between musicians and artists there were at least a hundred people, and everyone had at least two or three guests. On top of that we sold over 400 tickets. Plus there was the media list and the in-house Awarehouse list. People were still coming when the cops showed up though, so who knows how many we would’ve ended up with?
How many acts actually staged?
It was supposed to be 20. Unfortunately a lot of people weren’t able to play, including Telekinetic Walrus, WVUM DJs SpinnZinn and Pedrox, Tusk, Sound Duo, DJs Hilltronix and Ohm, and Out of the Anonymous.
I suspect though that there will be another event soon, and that those and more will be able to take their rightful place in Miami’s new pop pantheon?
Yes! We’re looking at doing it again during Winter Music Conference. And next time we’ll put the cops on our payroll so they can enjoy the festivities too!
