Arts & Entertainment

Ever since she roamed barefoot in the wetlands of Big Cypress as a child, Miccosukee Tribe member Betty Osceola has spent her days fighting to protect her tribe’s land and heritage. Over the past year, however, that advocacy has taken on a slightly different focus. Since the highly controversial Alligator Alcatraz immigration detention center opened last summer in the middle of the Everglades, the 58-year-old has become one of its loudest critics, arguing that it threatens fragile wetlands and continues a long history of harm to Indigenous land, among other issues. Osceola, who lives just a few miles from the sprawling tent city, has organized weekly interfaith vigils outside the detention center and joined round-the-clock community efforts to monitor the property. Despite her tireless work, she says she doesn’t see herself as a leader. In her own words, “I’m just doing what needs to be done.”

Some people may encounter Mel De Miami on a dance floor, a stage or a social media feed bursting with unmistakable Miami sass and class. You might catch her strolling the King Mango Strut, singing at a local showcase with friends, or appearing in a delightfully chongalicious skit — but behind the sequins, songs and celebrations is one of Miami’s most dedicated advocates for young people. Mel has spent years fighting for youth experiencing homelessness and navigating the child welfare system. A board member of Florida Youth SHINE and recipient of Florida’s Children’s First Outstanding Youth Advocate Award, she has transformed her own lived experience with homelessness into a mission of service. She also serves on Florida’s statewide youth homelessness action board, and works as a peer navigator for a transitional housing program helping young people find stability and support. While Miami has no shortage of personalities, Mel De Miami stands apart as the fiercest advocate for our youth, earning her recognition as the best community organizer committed to improving lives via opportunity.

South Florida has produced its share of controversial characters — from Proud Boys to SoundCloud rappers and deeply corrupt politicians. Then, there’s James Fishback. He was born in Davie and attended high school in Broward County. Now, he’s campaigning to be Florida’s next governor, and he’s gone far beyond the usual dog-whistling tactics associated with far-right Republican candidates. The 31-year-old has been called the “Groyper candidate” online for courting Gen-Z men and aligning himself with figures such as white nationalist streamer Nick Fuentes. He’s faced repeated criticism for racist remarks about his opponent, Byron Donalds, whom he has called a “slave to donors” and a “token Black” in Congress, declaring he wants to turn Florida into a “Section 8 ghetto.” Fishback has also proposed a 50 percent “hoe tax” on OnlyFans creators and faced sexual misconduct allegations involving a 17-year-old student from a debate club he ran when he was 27.

Imagine being a kid from Kendall and one day waking up to see your artwork printed on 60 million cans of Pabst Blue Ribbon beer (PBR). Peter Santa-Maria, known to the world as Attack Peter, has been drawing kaiju monsters for years and even had his interpretation of Godzilla licensed by Toho Studios, the Japanese company that owns the rights to the famous monster. In 2025, when Godzilla was set to celebrate its 70th birthday, PBR approached Santa-Maria with a dream collaboration. He drew Godzilla, along with three of his monster friends — Mothra, Mechagodzilla and King Ghidorah — to be printed on cans and distributed nationwide. The Attack Peter-designed cans are still circulating, so you might be lucky enough to find all four designs. If any Kendall boys and girls should run into Santa-Maria himself at their local gas station or Publix, be sure to have your Godzilla PBR can at the ready for impromptu autographing. 

They say if you’ve got it, flaunt it — but not if “it” is a $109,000 yellow diamond ring you allegedly purchased using stolen Federal Emergency Management Agency (FEMA) funds. In November 2025, a federal grand jury in Miami indicted former Democratic U.S. Rep. Sheila Cherfilus-McCormick on charges that she stole millions in federal disaster-relief funds and then funneled the money into her congressional campaign. The feds also alleged that the South Florida Democrat used the funds to buy a 3.14-carat yellow diamond ring from a jewelry store headquartered in New York City. Internet sleuths quickly noticed that what appears to be the same ring was prominently featured in the congresswoman’s official U.S. House portrait. On April 21, Cherfilus-McCormick resigned from the House of Representatives, less than an hour before its Ethics Committee was slated to discuss what sanctions to impose on her for violating a laundry list of House rules and ethical standards.

Miamians who grew up in Kendall in the aughts can proudly say, “I knew her when” as it pertains to actress Aimee Carrero. After years in the biz, the Miami-native-turned-Los Angeles-resident is seeing the fruits of her labor — and so is the world. The starlet recently wrapped production in Hawaii on an upcoming Netflix movie with Jason Momoa and Andy Samberg titled “Protecting Jared.” It was also announced this year that she was cast alongside John Cena and Kate McKinnon in another Netflix project, “One Attempt Remaining.” Her 2025 movie with Rainn Wilson and Lil Rey Howery, “Code 3,” recently landed on Hulu, and fans can also catch her as Elena Benavides on AppleTV’s “Your Friends and Neighbors,” now in its second season. Carrero’s supporting role to Jon Hamm’s lead allows the Dominican actress to show off her Latinidad with plenty of scenes involving her speaking in her native tongue. The 37-year-old actress is making all the girlies from the 305 extra proud to be a Miami girl. 

Denise Hruby is from Austria, but she has a pulse on South Florida’s environment like few others. Since joining the Miami Herald in 2024, she’s covered some of the region’s most pressing issues. Hruby focuses on the climate and biodiversity crises, reporting on everything from wildlife behavior to sinking skyscrapers and hurricanes. In an era where misinformation is widespread and climate change can feel overwhelming, her work makes understanding complex environmental issues more accessible. Her stories not only inform readers about environmental crises, but also show how deeply connected everyday Miami life is to them.

South Florida’s weather is not for the faint of heart – or the faint of forecasting. Everything from tropical storms to king tides and the kind of heat that wilts your afternoon ambitions by noon requires a meteorologist who actually knows the terrain. Brandon Orr, certified broadcast meteorologist at WPLG Local 10 News, has been that person since joining the station in 2018. Orr has been on our screens even more since the station went independent last year, and his augmented-reality weather reports make analyzing anything from brush fires to hurricane-speed winds that much more visually interesting. A Penn State-trained forecaster, Orr has built a following not just for his accuracy but for his ability to explain complex weather systems in terms that make sense to the average South Floridian. 

South Florida moves fast, y’all. One minute, it’s a celebrity sighting on the beach, the next it’s breaking news, a neighborhood festival, a can’t-miss restaurant opening — or maybe all of the aforementioned all under one roof. Phew! Miriam Tapia somehow keeps pace with all of it while making viewers feel like they’re catching up with a bestie who loves this community 1,000 percent. The NBC6 and Telemundo 51 reporter was born in Nicaragua, raised in Miami and graduated from Florida International University, giving her a hyper-local understanding of the region she covers daily. Tapia shines brightest when spotlighting the people, events and cultural moments that make South Florida tick, bouncing from entertainment stories to wellness trends to community happenings with an enviable energy. She’s polished without sounding robotic and upbeat without sounding annoyingly rehearsed. Whether interviewing local business owners or posting behind-the-scenes moments with her French bulldog Arya on Instagram, Tapia brings warmth and personality to every single moment. She’s cheered on so many folks in her career. Well, Miriam, we’re all cheering for you.

What happens when one of the most legendary journalists in the Spanish-language world teams up with his own daughter – an acclaimed author and MSNBC contributor – to make sense of a political moment that seems to shift by the hour? You get The Moment, the father-daughter podcast from Jorge and Paola Ramos that’s become essential listening since launching in September 2025. A production of Radio Ambulante Studios and iHeart’s My Cultura Network, the weekly show brings a uniquely multigenerational Latino perspective to everyday headlines, with guests ranging from politicians to activists, artists and thinkers. The show recently hosted an event at Adrienne Arsht with likely Democratic presidential candidate and California governor Gavin Newsom, which went off without a hitch. For Miami, a city where more than 70 percent of the population is Hispanic and Latino, the show hits differently. Jorge’s 38 years as a veteran anchor for Univision, along with Paola’s background on major campaigns and journalistic curiosity, make for a dynamic and personal on-air chemistry that is, as its name suggests, exactly right for this moment.

In December 2025, Eileen Higgins made history — and not once, but several times over — in the span of a single election night. The 44th mayor of Miami became the first woman ever elected to the office, the first Democrat to hold the seat in nearly 30 years and the first non-Hispanic mayor since 1996, and she did it by winning with nearly 20 points in a runoff election. Higgins came to politics by way of mechanical engineering, an MBA from Cornell, Peace Corps service in Belize and a stint as a U.S. State Department foreign service officer, and she doesn’t govern by symbolism alone. As Miami-Dade County Commissioner for District 5 since 2018 (where she earned herself the self-deprecating but beloved nickname “La Gringa”), she championed the Better Bus Network, helped create and preserve more than 7,000 affordable housing units, passed the state’s toughest fertilizer ordinance and spearheaded the country’s longest all-electric bus rapid transit line. Miami is surely a city with a complicated political history, and it looks like the 305 just elected someone who seems genuinely ready to fight for it.

Five years after propelling Daniela Levina Cava to victory as Miami-Dade County’s female mayor, Christian Ulvert pulled off a similar historical moment in the Magic City. The 43-year-old political consultant spearheaded Eileen Higgins’ successful campaign to become Miami’s first female mayor, cementing Ulvert’s status as the county’s political queenmaker — but Ulvert didn’t climb to the top of Miami-Dade’s electioneering business alone. His husband, Carlos Andrade, has played a key role every step of the way. Married in 2013 in Washington D.C., Ulvert and Andrade were among a group of same sex couples that successfully sued Florida to overturn the state’s ban on same sex marriages. Since then, Ulvert has spent years building a reputation as a sharp strategist for local candidates in non-partisan races, contenders for state and congressional seats and voter referendums; while Andrade has focused on overseeing media campaigns. Through their companies Edge Communications and Win Canvass, they’ve dominated the market for candidates seeking city, county, and state elected positions. Their clients turn over the messy business of fundraising to Ulvert, whose political action committees have raised tens of millions of dollars from developers and county contractors. 

Are you hungry for a collection of short stories as diverse and energetic as the city that inspired it? If so, “Are You Hungry?” by JJ Colagrande is the book for you. Colagrande, a former New Times correspondent and current English professor at Miami-Dade College, spent close to two decades fine-tuning this collection to make it worthy of the South Florida that shaped him. The first few stories take place outside the 305, but they drip with a Miami sense of humor and perspective, even when the setting is in Paris or San Francisco. The last portion of the book consists of stories set on his home turf, where Colagrande can let his freak flag and social commentary fly. Stories like “The Green Crusader” about a rich kid pooping on hundred-dollar bills in public spaces might not be for the faint of heart, but neither is the city that inspired it.  

After discovering he had a grave health condition, author Aaron John Curtis dedicated himself to writing his award-winning novel, “Old School Indian.” The book isn’t autobiographical. It’s auto-fiction, which means it beautifully lays bare aspects of the author’s life without bringing his personal story too deep into the plot. Like the author, the main character Abe is a member of the Saint Regis Mohawk Tribe who spent much of his adult life in Miami as a bookseller at a popular indie bookstore (Curtis spent 20 years as quartermaster at Books and Books). “Old School Indian” is one of the best books to come out of the Magic City. It’s funny, sad, smart, magical and it illustrates the complexity of emotion and visceral attachment that comes with living in and leaving Miami. It also brings the warmth and healing that comes with Abe’s return home to family on the reservation. Curtis’ poetic interludes warrant their own publication, creating a strong emotional backbone to an unforgettable story. Don’t think twice. Grab “Old School Indian” at Books and Books, and make this your next book club pick.

In a city known for spectacle, Carolina Toledo stands out by mastering something far more difficult: intimacy. Toledo built her reputation on events people remember. With more than a decade of experience in South Florida, she specializes in comprehensive, design-forward celebrations that feel deeply personal whether it’s a bridal shower, engagement party, rehearsal dinner or full-scale wedding. Her work is rooted in understanding her clients and translating their vision into something tangible through thoughtful layouts, layered textures and a strong sense of atmosphere. Frequent collaborations with creative partners, including Micu Design, allow her to transform even the simplest spaces into something elevated and immersive. While Miami’s event scene often leans toward large-scale productions and high-profile activations, Toledo’s strength is in restraint. She knows when to let details speak for themselves. The result is a seamless planning process and an end product that feels intentional rather than overdone. Her events are not about spectacle for the sake of it. They are about creating moments that feel effortless, refined and genuinely special.

Karelle Levy has been making Miami weirder and better-dressed for nearly three decades. The Paris-born, Miami-raised designer started her label straight out of school in the late 1990s, cutting her teeth as an artist at the Bakehouse Art Complex in 2001 before building a studio presence in Wynwood, then the Art Center South Beach, and eventually a decade-long home at Miami Ironside. She founded KRELwear after studying textile design at RISD, where the costumes she knit for her own art performances became the seed of a full fashion label. Her process is unlike most: garments are digitally programmed and knit on Maggie, a Shima Seiki industrial machine, then hand-finished in-house using mill-end yarns and zero-waste ethics using colors that run from sun-bleached tropical to glow-in-the-dark. The result is one-of-a-kind, inclusive knitwear with her signature “Toobular” construction designed to fit a wide range of bodies without compromise. Her creations have adorned the likes of Nicki Minaj, Alanis Morissette and Latin Grammy performers over the years. She also launched her Stitch N Bitch community gatherings at The Standard in 2009, turning her studio into a creative hub as much as a shop. Though recently relocated to Savannah, she remains a fixture in the city’s creative life and continues to come back regularly. Miami fashion hasn’t quite caught up with her yet.

Great flacks respond to media requests quickly, but the best flacks anticipate needs before reporters even reach out. That’s exactly how Rachel Pinzur’s eponymous PR agency operates, with her talented stable of reps — mostly women — getting well ahead of announcements, providing all the materials journalists need to deliver news to readers in a timely and accurate fashion. That’s especially important when your agency works with some of the most vital cultural spaces and organizations in the city, from Oolite Arts to Pinecrest Gardens and the Miami Film Festival. Not bad for an agency Pinzur founded 12 years ago after getting laid off from a longtime job.

Four years ago, Jordon King arrived in South Florida as a graduate student with a passion for wildlife. Today, he has become one of the region’s most engaging voices for the Everglades. The Kingston, Jamaica, native makes science feel accessible and exciting. With his signature style, vine-wrapped gold grill, pet chameleon named Krome and deep knowledge of Florida’s ecosystems, King has built a loyal audience eager to learn about the natural world. His path to Florida began through a research fellowship studying Everglades wildlife and continued at Florida International University where he pursued a Master of Science in Environmental Biology. When he’s not working as an environmental scientist, King shares educational videos that spotlight South Florida’s native species and fragile habitats. Since late 2025, he’s amassed more than 120,000 followers across Instagram and TikTok, turning everyday encounters with wildlife into lessons on conservation. King regularly visits Miami-area schools, inspiring students to see science as a career path. The overwhelming response to his New Times April cover story made one thing clear: South Floridians can’t get enough of what he’s teaching.

François Piacente doesn’t consider himself a content creator. He’s a miniatures artist who happens to document his work, and that distinction (subjective as it might be) is exactly why @scaleton_ is worth following. Piacente, who is based in Coral Gables, has spent eight years building scaled-down reproductions of buildings, street scenes and everyday objects, approaching each piece the same way: site visits, precise measurements, geometry, logic and a deep flow state with zero distractions. His aesthetic is realism with a layer of patina: the rusted AC unit, the patch of grass breaking through concrete, the worn details most people walk past without paying attention. His approach to the content relies more on intuition than anything else, thinking about how to document an angle or a moment in the process when it feels right. His feed feels more like a studio visit with someone who is genuinely obsessed with what they’re making, and that’s the kind of positive creativity that makes your doomscrolling feel a little bit more joyful.

If you do anything within the sphere of Latin culture, chances are you’ve already encountered Jess Judith. The Dominican girly won over the Latino market by turning Miami into her playground, moving through the city’s music, fashion, nightlife and entertainment scenes with the kind of ease that makes her feel like part of the moment. Her collaborations and cultural touchpoints stretch from Quevedo and J Balvin to the World Baseball Classic, but that only scratches the surface. She has danced with Bad Bunny, eaten sushi with Álvaro Díaz, shown up at nearly every Latin show and party worth knowing about, and still found room to level up beyond the usual influencer lane with red carpet reporting at the Grammys and brand work with Elle Magazine and other outlets. At her core, Jess is just a girl, but at this point, she’s also the people’s princess; a Dominican “It Girl” who has proved she is a cut above the rest. Her content stands out because it’s never just something cute for the ’gram. She connects with artists, music and culture in a way that feels genuine, appreciative and distinctly Miami. 

Annie Kimmelman has created a corner of TikTok that feels both aspirational and entirely real. As the face behind @ThePlantCollective, she shares plant-forward recipes, wellness tips and glimpses into a lifestyle rooted in intention — but never in a way that feels restrictive or preachy. Her content invites viewers in, whether she’s cooking with ingredients from her backyard, breaking down a simple recipe or sharing quiet moments at home with her wife, their three dogs and newborn son. What sets Kimmelman apart is how her platform has evolved alongside her life. She has documented deeply personal chapters, including her storybook St. Tropez wedding, IVF journey, pregnancy and the transition into motherhood with a level of openness that resonates without feeling performative. There is polish in the visuals, but the storytelling remains grounded. She is not chasing trends or curating a version of Miami centered on exclusivity. Instead, she offers something softer and more enduring; a look at everyday life that feels full, thoughtful and genuinely lived.

Miami has never been afraid of being loud, weird or deeply online; three tenets that comedian Stephanie Perez embodies daily. Known as DaleStefunny on TikTok, she uses her platform to share her whimsy through makeup routines, OOTDs and unhinged bits. A comedian, improviser and producer who sharpened her skills at Chicago’s legendary iO Theater before returning home to Miami, she brings her unique POV to videos that feel authentic and chaotic in a landscape of over-curated personas. More than anything, Stephanie’s TikToks make a strong case for embracing joy without the fear of being cringe — a true embodiment of the “2016 in 2026” trend we’re all grasping for these days. 

Larping, or live-action role-playing, is a phrase from the gaming world that went mainstream this year thanks to an only-in-Miami type of character. The “larping in Brickell” meme took over Instagram and TikTok, uniting the city in its lighthearted mockery of theatrics we’ve all seen — and heard — in the streets. If you don’t drive a luxury car, live in a high-rise overlooking Biscayne Bay or drop thousands of dollars while shopping and dining downtown, you can at least pretend to. People are ditching their modest Hondas and Toyotas for the day, renting Lamborghinis or Ferraris and revving their engines to draw attention. They’re going to parties in downtown apartments and posting balcony views as if it’s just another day at home. They’re posting selfies in designer stores and upscale restaurants — then leaving empty-handed and hungry. If it’s not too much to ask, locals have just one request for Brickell larpers: please stop revving your engines so loudly that no one can hear the person they’re standing next to.

Like it or not, Miami is in a constant state of flux, and the conventional wisdom goes that once your favorite third space or watering hole is gone, it’s gone for good. That changed in late 2025 and 2026, when several hallowed community spaces rose from the dead to the surprise of every jaded local. First came Venetian Pool, the Gilded Age Gables gem which reopened in December 2025 after closing for renovations in October 2024. The return of the Mediterranean Revival-style site, on the National Register of Historic Places, set a trend. Churchill’s and Las Rosas, two beloved music venues, reopened last fall within weeks of one another: the former with a new menu and new bathrooms (and old ones with the same gritty charm), and the latter essentially stuck in time since it closed in 2022. While Gramps Wynwood hasn’t yet been resurrected, its resident Pizza Tropical returned on Miami’s Upper East Side in April as a standalone entity. With the Tower Theater back in the hands of Miami Dade College and the Olympia Theater reopening for the Miami Film Festival, the movement appears to be taking hold.

“How has theatre become so elitist,” British theatrical director Karena Johnson asked in a 2014 Guardian essay, “from its roots in Sophocles and Shakespeare’s productions where audiences cut across class, to contemporary working-class people deciding theatre is not for the likes of them?” For the last three decades, the antidote to this upward cultural devolution in Miami has been the remarkable, community-centered efforts of City Theatre. From the City Reads program, which presents multiple yearly pop-up readings of shorts by local playwrights at venues such as Books & Books and Pinecrest Gardens, to the annual Summer Shorts: America’s Short Play Festival every June. The free Short Cuts Tour brings 10-minute plays for ages 10-14 to middle schools, camps, libraries and community centers across the state. Not to mention the Homegrown Playwright Development Program. There isn’t enough room here to cover it all. Synopsis: Long live City Theatre! Drama to the people!

A lot of children’s theater companies will happily stage “The Little Mermaid Jr.” for the 400th time. Not Miami Children’s Museum’s professional theater troupe who created an original “Peanuts” play instead. The museum’s in-house theater troupe — one of the few attached to a children’s museum anywhere in the country — scored rare permission from Peanuts Worldwide to write original material using Charles Schulz’s beloved characters for “If I Gave the World My Blanket,” created alongside the museum’s “Take Care with Peanuts” exhibition, now heading out on a national museum tour. That kind of ambition is what makes Miami Children’s Museum stand out. The museum doesn’t treat theater like an add-on attraction kids half-watch before running to the next hands-on activity. Helmed since 2016 by Bree-Anna Obst, the fully professional troupe also regularly leaves its Watson Island home and traverses the MacArthur Causeway with pirate adventures and participation shows. Like a theatrical roadshow for the juice-box set, Miami Children’s Museum may be building the next generation of theatergoers, even if they do need a booster seat to see over the big head in front of them.

No, it isn’t named after the classic rock band that told audiences to “Come Sail Away.” This STYX seems far more interested in where dance is headed next. The newish South Florida company creates performances that feel less like traditional concert dance and more like stepping into an entire atmosphere. Its latest production, “The Teller Returns,” was a steampunk-inspired sequel to a 2024 dance theater piece and was meant to look so cinematic that you would half expect closing credits to roll at the end. Co-founded by Brianna Campbell and Mika Santo, the company understands that audiences raised on TikTok and social media aren’t automatically wowed by grand jetés and pliés anymore. Why should a technically trained dancer be limited to one style when the world around them isn’t? STYX has built its identity around dancers who refuse to stay boxed into one category — which, considering the mythological River Styx was supposed to connect different worlds, feels oddly appropriate.

The quickest way to be considered a local in a new city is to learn all you can about your new home. Writer Nick Griffin might not be a Miami-born boy, but he’s an honorary 305-er. Griffin was born in London, moved to the states when he was 18 and has been living in Miami for nearly two decades. In 2020, he published a lengthy, well-researched book on the Magic City’s seedy past called “The Year of Dangerous Days: Riots, Refugees, and Cocaine in Miami 1980.” The nonfiction book was later turned into a play called “Dangerous Days” for Miami New Drama in 2024. Soon after that, Griffin took a unique excerpt from the book and turned it into another stage play. “English Only” premiered at Miami New Drama earlier this year and expanded on the story about when activists tried to make English the only official language in Miami. Whether or not Griffin is planning another stage adaptation from his research, it’s safe to say this author and playwright knows how to tell Miami stories beautifully and factually. 

Theater is meant to move you. Great theater will make you laugh, cry and have you ruminating on what you just saw for days. That is the power behind Chris Ferrer’s “How to Break in a Glove.” The 90-minute play unpacks the relationship between a family facing all sorts of issues. From divorce to decades-long secrets to illness, the Cuban family portrayed on stage is very relatable to a Miami audience. Produced by City Theatre, the play was first concocted by Ferrer when he was part of the Homegrown playwriting program. He developed the script over three years, and the play was ready to have its world premiere at the Arsht Center earlier in 2026. Set in Hialeah in the ‘90s, “How to Break in a Glove” unpacks a lot of the trauma that many Cuban-Americans are all too familiar with when it comes to growing up in a multi-generational home. The arguments, the passion, and the unconditional love portrayed on stage by an all-Hispanic cast were powerful enough to move the audience to tears, laughter and audible gasps. 

With roots dating back to 1930, Teatro Trail has survived changing neighborhoods, political eras and probably every version of Miami traffic imaginable. The longtime institution continues to pack audiences in with a broad lineup and its signature crowd-pleasing comedies, including “Gloriosa, the Worst Singer in the World,” proving the company knows exactly what its audiences want — and keeps delivering it. But Teatro Trail isn’t all punchlines. Productions like Luis Santeiro’s “The Lady of Havana,” directed by Marcos Casanova and starring Marta Velasco, reminded audiences that the company also knows how to take its art seriously, particularly in Miami’s Hispanic culture. In a city where Spanish is part of everyday life, Teatro Trail has spent decades proving Spanish-language theater isn’t niche. It’s part of Miami’s cultural DNA. 

Colony Theatre opened in 1935 as a Paramount Pictures movie house. Fast forward more than 90 years, and it remains one of the most lively venues on Lincoln Road. Inside the theatre’s timeless Art Deco atmosphere, Miami New Drama brings together local, national and international talent to stage original plays and musicals, as well as classics. The company’s original programming reflects local culture, aiming to make Miami feel seen. Some plays and musicals are lighthearted, while others are intended to stir civic discourse around some of today’s most sensitive issues. Much of its inspiration comes from the region’s rich history and narratives rooted in uniquely Miami experiences that connect the community.

Brévo Theatre proves you don’t need a permanent space to make yourself at home all over South Florida theater. While some companies stay within their own four walls, Brévo spent the season moving across counties, building partnerships and mounting productions ambitious enough to make larger companies sit up and take notice. There was the South Florida premiere of the Pulitzer Prize-winning “Fat Ham,” in a collaboration with shows first in Fort Lauderdale at Island City Stage and then in Coral Gables at GableStage, which proved Black and queer stories don’t have to live on the margins of regional theater. Then came “The Color Purple,” because apparently Brévo looked at one huge undertaking and thought, “Why stop there?” Under the leadership of T.M. Pride and Zaylin Yates, Brévo has become one of the most artistically fearless companies in South Florida. No brick-and-mortar space? No problem. Brévo spent the season making the entire region its stage. 

Just when Miami’s annual Art Week glamour finally started fading, “From the Heart to the Hands: Dolce&Gabbana” arrived to keep the spectacle going. The blockbuster ICA Miami exhibition delivered room after room of hand-embroidered gowns, gilded religious imagery, Sicilian fantasy and enough ornate detail to make visitors stop and stare far longer than they may have planned. Up close, the garments looked less like fashion and more like wearable art created by impossibly patient mad fashion-scientists with unlimited access to gold thread. What made the exhibition feel especially significant for Miami was that it wasn’t just another touring fashion blockbuster passing through town. New York would have been the likely city for the U.S debut of the expansive love letter to Italian culture, but art and fashion curator Florence Müller, who splits her time between her native Paris and Miami, insisted it be in her backyard. It also became one of the first major exhibitions to fully take advantage of ICA Miami’s expansion into the former de la Cruz Collection space, giving Müller and the museum enough room to go full Dolce.

Founded in 2019 by curator Nuria Richards, Feria Clandestina started in a Midtown apartment and has since grown into one of Miami Art Week’s most anticipated alternative events. From 2020 onwards, the fair has occupied iconic properties along the MiMo stretch of Biscayne Boulevard including the Knoxxon, 7 Seas and most recently the Gold Dust. With artists or collectives taking over the rooms, each one becomes an immersive gallery showcase. The works on display lean experimental, often a little weird and much of it is priced to be accessible, a welcome counterpoint to the focus on blue-chip commodities of other fairs. For those of us tired of the monotonous complacency the other fairs have fallen into, Clandestina offers an exciting alternative, emphasizing local artists and creating a platform for emerging talent to shine.

Homework Gallery is one of the few nomadic galleries that’s stood the test of time and transitioned into a brick and mortar space. Run by married couple Aurelio Aguiló and Mayra Mejia, the gallery has always shown very moving curatorial concepts, breaking with the typical gallery format of standard sellable exhibitions and choosing instead to be bold and alternative. This commitment to unique gallery practices is demonstrated in collaborations with other organizations, like the show “¿buscando visa para naufragar?” which featured works from the permanent collection of the Miami public library system, and “poemas de sal y tierra (poems of salt and soil)” in collaboration with the art magazine Forgotten Lands. While Homework may not exclusively exhibit Caribbean artists, the space feels quintessentially Caribbean and contemporary, tackling intellectual topics relevant to the region with local flair. The gallery is currently on hiatus before relocating to a new space in December, an unfortunate but all too frequent event that should remind us all to support our local businesses.

Think of Tunnel Projects as the cool kids’ table of the local Miami art scene. The artist studio and exhibition space is housed in the parking lot of a Little Havana strip mall and is home to the most dependable, hard-hitting and intellectually stimulating shows in Miami all year round. The brainchild of Luna Palazzalo Daboul, an incredible artist in her own right, it boasts a roster of equally impressive, young and talented artists who have succeeded in making a name for Tunnel. The team has captured the attention of art scene elites while staying true to its grassroots nature. Next time someone says the saguesera has no high culture, take them to Tunnel!

Catherine Camargo is just the curator this city needs: cutting, alternative, intellectual and homegrown. As the founder of Queue Gallery and Queue Magazine, she shares her specific vantage point as a student of institutional rigor and the grit of our local community when you peel away the glitz and glamour. A project by Camargo is always distinguishable. Want to see for yourself? Go to Little Havana and explore Queue Gallery, or drive up to the Moca North Miami for her latest triumph, “Permanent Collection Focus: Anchors of Light,” a group show featuring works from the museum’s permanent collection.

Design whiz Moshe Franco has teamed with an impressive array of brands and agencies throughout his career ranging from Alexander Wang to Vitamin Water, Shinola, Urban Outfitters and more. Locally, you may be familiar with the distinctive, evocative and bold work Franco has done for Coral Gables Art Cinema. He transforms advertisements for programming into pitch-perfect, interest-piquing dollops of modern art, with themes as radically diverse as “Iranian Cinema Week” to “David Lynch: I’ve Been Loving You Too Long,” “Ani-May” and “Pages to Noir: A Hardboiled Detective Limited Series.” Franco has an aesthetic unique to himself, sure, but he’s also able to adapt tonally and thematically to a given subject — a nimbleness and flair that is the mark of true genius.

If you’ve seen Brian Reedy’s detailed, pop culture-infused illustrations on a t-shirt sold at Hot Topic or on his Instagram page @brianreedy, you might find yourself in awe but also at a loss of what gives the black and white images their distinct pop. It all comes down to technique. The Miami resident and Miami-Dade public school art teacher demonstrates his artistic process with a sped-up video on his website where he carves a stegosaurus into a block of wood, then stains it with ink and imprints the image onto paper where it can then be transferred digitally. This unique block printing has won him contracts with conglomerates from Warner Brothers to Disney where he’s interpreted everyone from SpongeBob Squarepants to King Kong in his one-of-a-kind stylings. While much of his artwork embodies darker, gothic locales, Reedy has also repped his hometown with a fun image of the University of Miami mascot, Sebastian the Ibis, and another Miami tribute showing his take on the Freedom Tower, Metrorail and La Carreta. 

Drive south on NE Second Avenue from Little Haiti toward the Design District, and you can’t miss the collaboration between Tatiana Suarez and Quake. Commissioned by DavidSW, a high-end watch and jewelry dealer founded by a Trinidadian immigrant, Euphonia draws from both Caribbean heritage and the surrounding neighborhood. Suarez anchors the piece with one of her ethereal female figures; dark hair flowing, surrounded by oversized tropical blooms and a blue-and-gold Euphonia bird perched at her shoulder. Behind her, Quake, a founding member of the Miami Style Graffiti crew who has been painting the city since 1993, lays down gold-toned geometric shapes drawn from watch movements, a nod to both the client and his own roots. Together, the duo carries the combined confidence of artists who have taken their work across the globe, representing Miami every step of the way.

Although Miamians sometimes like to forget we are in the South, Historic Hampton House is an important reminder that, just like any other southern city before 1964, we had Jim Crow laws segregating people based solely on the color of their skin. This hotel-turned-museum served as a foothold for the Civil Rights Movement in Miami in the ‘60s, boasting iconic Black American guests from Martin Luther King Jr. to Josephine Baker and Jackie Robinson. The museum has preserved rooms where you can see accommodations exactly as they were in the hotel’s heyday, along with photos of Historic Hampton House’s most noteworthy guests. Last December, the museum also hosted two contemporary art exhibitions; a solo show of Alexandre Diops’ work, as well as “No Room. No Vacancy,” a group exhibition featuring 25 artists.

When Wynwood’s beloved Gramps announced it was shutting down, Lex Barberio felt a calling and showed up with a camera and index cards in hand. They photographed more than 40 regulars in their favorite spots inside the venue, and handed each one a card to write down a memory or message to the venue. The Gramps Yearbook became an archive of a communal institution, one of several that have disappeared before our eyes in recent years. The handwritten notes were layered directly onto the portraits — image and memory fused as a perfect encapsulation of what Barberio does. The photographer and creative director, who returned to Miami in 2024 after a decade in New York, has built a practice around documenting communities that give places texture before they can be erased. “A photo is just a photo until you add that human touch,” Barberio says. In a city that moves fast and forgets faster, that instinct is increasingly necessary.

All photography requires some level of mutual respect and comfort on both sides of the lens, but that’s especially true of the work of Karli Evans who has for years been trusted by Miami’s queer, kink and underground communities to document their sacred spaces. In 2026, her photographs adorned the walls of the Museum of Sex, a newer addition to the city’s art scene but one that exists precisely to showcase work by creatives like Evans. “F*ck Art: Nature & Artifice” exhibits pieces by Miami-based artists “whose practices examine the city’s distinctive convergence of subtropical ecology, technology and sexual undercurrent.” Her contributions depicting bound, leather-clad women bathed in red motel lighting or posing in bikinis on mangrove roots recall the imagery of another Miami photographer who flirted with the boundaries of propriety in her day: Bunny Yeager.

Taking the form of the giant head of a woman half-suspended in a reflecting pool, “Reflection” by French artist Prune Nourry is a more stately and striking artwork than one would expect to encounter on Miami Beach. The centerpiece of a long-planned rejuvenation of Ocean Terrace — a strip of dilapidated motels turned into a public park — the sculpture resembles an Olmec monument lost to time. Nourry also tapped into local history in making the piece, using the likeness of Nellie Locust, a Cherokee Coast Guard officer stationed in Miami Beach during World War II, to craft the statue in tribute to female servicemembers.

Before your feet touch the dance floor, a flyer must entice you to attend the party. Before reading the showbill, your eye is drawn to its aesthetic. Competition is stiff for visual languages because everyone wants your attention. That’s why Miami’s underground relies on Juan Antonio Mejia to stand out. Some know him as Liquid J, the young padawan with a decade of experience under his belt (DJ’ing by age 13, throwing his own parties by 2019). His party needed a visual identity, so he taught himself graphic design. Alongside a group of friends, he launched a new party series called Jezebel in 2021. His design language matured, becoming distinct and coherent. With Jezebel as a testing ground, Mejia leaned into abstraction and color maximization. If you threw a party, Liquid J’s unmistakable aesthetic was now on your radar, and the commissions haven’t stopped since. These days, Mejia draws inspiration from designs found in the wild, channeling things he sees on a walk, like the strong typography on a small business sign. Mejia’s approach reminds us that rave flyers tell important stories and belong in our shared archive.

Morel Doucet moves between worlds that don’t naturally overlap — museum walls, courthouse lobbies, cruise ships, classrooms and commercial campaigns just to name a handful — carrying the same conversation into them all. The Miami-based Haitian artist centers his work on the Black and Afro-Caribbean communities across Miami, tracing how development, climate change and displacement reshape daily life. He explores these ideas through various mediums including ceramics, printmaking, painting and mixed media installations, and his work has been seen through public commissions, exhibitions and brand collaborations. Doucet uses each platform to keep the core themes intact. His recent collaboration with Stephen Arboite, “After the Rain Comes Light: Portraits of Resilience,” filled MOCA North Miami with collaged portraits built using local flora, reinforcing both place and people. His work is often aesthetically pleasing but goes deeper than that, exploring themes that encourage viewers to consider the harder ideas beneath them.

Separately, Miami native, mom and architectural designer Delia Rivera and photographer, real estate agent and mom Michelle Tetreault do incredible, fun, gorgeous work. Just look at the respective solo zines #GLASSBLOCKSY’ALL and The Real Chickens of Miami for confirmation. However, the pair’s collaborative project CURRENT is, even by those lofty standards, a transcendent and next-level effort. With issues that offer in-depth explorations of particular neighborhoods (Overtown, Little Haiti, Coconut Grove) and spots (Crandon Park), Rivera and Tetreault tease elegance from grittiness, revelation from routine and the overlooked extraordinary from that which is dismissed or passed over as mundane. CURRRENT is both a love letter to the city and a reminder to appreciate the details and foundations that make it special before they’re all swallowed up and forgotten in the maelstrom of progress.

Sheena O. Murray has the kind of stage presence that makes audiences want to spend more time with her characters long after the curtain comes down. In AHCAC’s “Detroit ’67,” her portrayal of Chelle made you want to step in and take some of the weight off her overburdened shoulders. As the very pregnant Charlene in M Ensemble’s “Searching for Willie Lynch,” the instinct was the same. (Can somebody help her with that laundry basket already? Maybe pull up a stool and let the woman rest for five minutes?) Her characters don’t feel written as much as fully lived in. Even the smallest moments feel connected to a real person whose story continues long after the show is over. Because of the realism she brings to her roles, you wouldn’t be surprised to run into one of Murray’s characters at Publix the next morning. 

“The Inheritance” is a very long play — as in, you’ve had two intermissions and realize you still have another play to go — which makes Alex Weisman’s performance in Zoetic Stage’s production all the more impressive. The South Florida native is onstage for most of it, carrying the emotional center of Matthew López’s sprawling drama through soaring highs and wrenching lows, showing vulnerability and the kind of stamina that should qualify as cardio. Weisman honed his chops on Broadway, making his stage debut in “Harry Potter and the Cursed Child” and on TV as Frank, the first LGBTQ+ character on “Sesame Street.” Local audiences first saw him in Zoetic Stage’s “American Rhapsody” in 2023, but “The Inheritance” gave the Davie-raised actor room to fully stretch out as a performer. Good thing, because the play lasts about as long as a round-trip flight from Miami to New York. 

Nestled within the University of Miami campus in Coral Gables, Cosford Cinema’s midcentury decor makes it a wonderful setting for classic and new movies alike. Its bread and butter is recent releases and repertory showings of classic films, from arthouse classics to Clint Eastwood westerns. Most screenings cost only $5 for the general public and are free for UM students and faculty. The theater also frequently hosts special events such as festival screenings and sneak previews of new movies.

Anyone who’s ever taken a photo knows finding the right light can feel like an art form — and it actually is. Miami’s own Sherman Johnson knows this better than most. Cinematographers, also referred to as Directors of Photography, make finding the right light their career. Johnson has been in the film and television industry for decades. Born in Atlanta, the cinematographer relocated to Miami in the early aughts. His shots are smooth, natural and always dripping with authenticity. He knows how to set the light for any mood and can swiftly capture any emotion on camera. Johnson has worked with brands from Bulova to Samsung and our very own Pollo Tropical; and the list of celebs he’s shot is too long to include (but features David Beckham and Marc Anthony). In addition to films and hundreds of commercials, Johnson is the cinematographer mastermind behind the upcoming feature “Wastelands.” Directed by Oolite Arts Cinematic Resident Michael Ruiz-Unger, the punk rock movie was filmed all over Miami and required the Atlanta native to chase its star, Alex Nuñez, while balancing an Arri Alexa Mini on his shoulder. 

Diana Larrea describes her approach as documenting quietly, and her films reflect that sensibility. Grounded in observation, she stays close to her subjects but lets their stories unfold without intrusion. The Peruvian filmmaker has spent more than a decade documenting Miami communities as they are reshaped and pushed to the margins. Using photography and other artforms to supplement her practice, she explores themes of migration and memory, as those relate to the individual and collective. Her debut, “Monarcas,” earned a 2024 Emmy Award for Best Documentary (Diversity, Equity and Inclusion), followed by “Querido Pequeño Haití,” which moved from festival screenings to a national PBS audience. Now at work on “Q’uñi Pacha,” Larrea turns her lens toward the preservation of Andean traditions within Miami’s diasporic communities, with support from local arts programs and foundations.

Need footage of old Miami Beach tourists in cat-eye sunglasses? Long-gone motels? Hurricane coverage? Political scandals? A forgotten home movie somebody shot on Collins Avenue in 1957? The Wolfson Archives probably has it, carefully preserved somewhere among its 23 million feet of film and more than 35,000 hours of videotape documenting Florida history. Founded in 1984 with donated footage from WTVJ, Florida’s first television station, the archive has since grown into one of the country’s largest collections of regional moving images, including materials from Eastern Airlines, Miami Seaquarium films and decades of English and Spanish-language broadcasts. It’s not dusty nostalgia sitting on a metal shelf. Footage from the archives has appeared in Billy Corben’s “Cocaine Cowboys” and ESPN’s “The U,” as well as Gus Van Sant’s Oscar-winning “Milk,” CNN documentaries and Ken Burns projects. Of course, nostalgia isn’t free and archival film licensing has its price, but if you’re trying to explain the strange, glamorous, chaotic history of South Florida, chances are the Wolfson Archives already has the receipts — on film.

Some film festivals hand you a QR code for the program, march you past a step-and-repeat with a few B-list celebrities and call it a night. ScreenDance Miami is far more interested in giant projected dancers, experimental movement films and turning New World Center’s 7,000-square-foot projection wall into one of the coolest outdoor screenings in the city. The Miami Light Project festival has carved out a niche all its own by focusing entirely on dance made for the camera — part film festival, part dance concert and part carefully choreographed visual experience. Curated by Miami choreographer and dancer Pioneer Winter, the 2026 festival stretched from the Miami Beach Bandshell to SoundScape Park and Pérez Art Museum Miami, and featured 24 films from six countries ranging from documentaries to surreal experimental shorts. Some looked like contemporary dance pieces. Others felt like the fully produced music videos MTV used to play at 2 a.m. before reality television took over. ScreenDance Miami stands out because it understands dance on film should feel cinematic — not like somebody parked a camera in the back of a theater and hit record.

Pulling from the Miami-Dade County Library System’s collection of 16mm film prints, AV Club remains one of the best resources for Miami cinephiles to explore the history of cinema. One of their best programs from the past year was a series diving deep into the history of surrealism in film, hosted by film critic and New Times contributor Juan Barquin and inspired by the sad, premature passing of legendary director David Lynch. Films by Jean Cocteau, Luis Buñuel, Man Ray and Maya Deren were shown, and Barquin even printed an informative zine to accompany the series. 

In 1947, conservationist Marjorie Stoneman Douglas’ book “The Everglades: River of Grass” inspired a generation to advocate for the world’s only ecosystem of its kind. Nearly 80 years later, artist and filmmaker Sasha Wortzel, director of “River of Grass,” continues that work on the screen using Stoneman Douglas’ words as signposts throughout the documentary. The conceit here is that the filmmaker aims to learn more about Stoneman Douglas (“I knew she was a celebrated environmentalist, but I wanted to know more, so I went looking for her,” she narrates), but as the documentary progresses, the viewer meets today’s Everglades advocates, including Betty Osceola, a member of the Miccosukee Tribe of Indians of Florida, who reminds us that the term “River of Grass” was coined not by Stoneman Douglas, but by the Indigenous stewards of the land. We also learn about the many man-made issues that plague the fragile ecosystem. Some are longstanding, such as encroaching development and efforts to drain or alter the flow of its slow-moving waters, and others are more recent, like red tide and Burmese pythons that threaten native wildlife and throw off nature’s balance. The result is an impressionistic portrait of the Everglades, the late conservationist who fought to save them and the only people who can still protect the Glades today: us.

You could think of “Ethan Bloom” as an affecting, beautiful coming-of-age film about grappling with grief, the human condition and navigating our way to meaning. Or, if you want to get very creative, you can think of it as a teaser for the heroic AC Icees biopic the world doesn’t know it needs — but definitely does. We kid, but the frosted lemonade truck that has served locals for nearly a half century makes an appearance in the film, along with David T. Kennedy Park and a slew of other perfectly captured, picturesque Coconut Grove locations. Both director Herschel Faber and screenwriter Maylen Dominguez have deep roots in the area, so perhaps the love and care isn’t so much a surprise as a welcome affirmation.

Most blockbuster movies come with sticker shock these days. By the time you pay for parking, snacks, a soda and the actual ticket, you’ve blown half your grocery budget for the week. Ocean Cinemas, however (also known as Le Jeune Cinema 6 and located inside the Ocean Bank Building on LeJeune Road), offers a recession-proof theater experience. Though its six screens are slightly smaller than those you might see at chain theaters, the biggest difference is the money saved. Standard adult tickets are capped at $12, but you’ll pay just $8 for a matinee (Monday through Friday before 6 p.m.; weekends and holidays before 3 p.m.). On Tuesdays, tickets cost only $6. Want to see a movie in 3D? That’s only $3 more than the base price. Check the theater’s website for a list of daily screenings. Though you won’t get a complete slate of new movies here, the blockbuster selection is robust. This year’s features have included “Michael” and “The Devil Wears Prada.” Plus, the cinema’s use of the TheaterEars app — which syncs English and Spanish translation tracks to films in real time — makes this theater a worthy pick for families and date nights.

Scarlett’s Cabaret operates with the confidence of a Vegas nightclub dropped directly beside I-95. Massive LED walls pulse above the crowd, DJs blast club hits until sunrise and performers from around the world command seven separate stages throughout the sprawling Hallandale Beach venue. There’s the club’s legendary “100 Girl Parade,” an hourly spectacle that has become part of South Florida nightlife lore. Scarlett’s doesn’t stop at entertainment either. Rick’s Steakhouse & Lounge, attached to the club, serves steaks, seafood and late-night indulgences until 5 a.m., making it entirely possible to pair a filet with your fire show. UFC pay-per-views blast across giant screens, themed parties keep the calendar packed, and VIP packages morph birthdays and bachelor parties into all-night productions. The club has collected accolades from nearly every corner of South Florida nightlife media for years, but what keeps people filing in is the sheer scale of the operation. Scarlett’s goes big in every possible direction, and never apologizes for it.

Step inside Faena Theater and leave your inhibitions at the door. Draped in gold and glowing in deep red, this jewel box of a venue doesn’t just host performances, it seduces you into them. The productions here blur the line between stage and spectator, where every glance lingers a second too long and every movement feels deliberate. It’s cabaret reimagined, equal parts elegance and temptation, where storytelling unfolds in silk, shadow and slow-burning allure. The caliber is as high as the heels. Icon Dita Von Teese has graced the stage with her signature vintage glamour, alongside powerhouse singer Macy Gray and captivating performers Ariana Savalas and Kat Cunning. Resident productions Obsession and Tryst keep the energy intoxicating, drawing you deeper into a world that feels indulgent, immersive and just a little bit dangerous. It’s not just a show. It’s a slow, smoldering invitation.

Some casinos try to manufacture excitement. At Gulfstream Park Casino, the buzz existed long before guests even touched a slot machine. The Hallandale Beach landmark blends casino gaming, horse racing, dining and nightlife into one sprawling entertainment complex where it’s normal to spend an entire day bouncing between cocktails, thoroughbred races and jackpot chases. The spot celebrates its 20th anniversary this year, continuing to evolve while holding onto the old-school glamour that made it iconic in the first place. Inside, more than 600 slot machines and electronic table games light up two gaming floors wrapped in sleek, recently refreshed décor. Outside, championship horse racing unfolds year-round at one of the country’s most famous racetracks, where Pegasus World Cup crowds and Triple Crown hopefuls regularly snag headlines. Add in giveaways ranging from cash prizes to cars, a rewards program that actually delivers perks, and enough restaurants nearby to turn a quick visit into a marathon evening, and Gulfstream Park Casino is one of South Florida’s most reliable playgrounds for grown-up fun.

It’s no secret Hollywood A-listers have flocked to the 305 for decades, soaking up fun in the sun and all Miami has to offer, but over time, the place to spot your favorite stars has changed. There’s always a new restaurant they’re eating at or a better hotel for them to stay in, but one thing lately remains the same: the stars come out to play at the Design District. For more than a decade, the Design District has been the place to “see and be seen” for everyone from Leonardo DiCaprio to Pharrell and Jennifer Lopez. Thanks to high-end restaurants, luxury retailers and several members clubs, it’s the neighborhood you’re most likely to run into a celebrity on any given day. Perhaps you’ll catch Pharell walking out of Louis Vuitton, or Jimmy Butler at BigFace, the coffee shop he opened in the area. Simply waiting for your car at the valet after grabbing a cup of coffee or a game of padel could have you rubbing elbows with Tinsel Town’s finest.

Danny Benavente never needed the spotlight to himself, though he’d happily bask in it when invited. A fixture of Miami’s comedy and bar scenes for more than a decade, he moved between venues and roles with the same ease. He tended bar at Blackbird Ordinary, Mama Tried and Better Days; but as a comedian, he produced shows, performed in them and served as an operating partner at the Dead Flamingo where he developed QuipWars, a live comedy game show that reflected everything he did best: creating space for others to shine. His humor was conversational and disarming, the kind that encouraged audiences to feel like old friends after just one set. When Benavente passed away on Jan. 1, 2026 at the age of 42, the tributes that came in from comics, bartenders and regulars all shared a common denominator: he showed up, he listened and he made people laugh when they needed it most. The city was lucky to have him, and his presence will continue to be felt in the spotlight and bars across town.

Miami is one of the epicenters of drag in the U.S., and in recent years, its House of Dion has repped the city on the televised Olympics of the fanciful art form, “RuPaul’s Drag Race.” Morphine Love Dion, Juicy Love Dion and Athena Dion have all competed on the show (the latter two on its latest season), and as the drag family’s profile rises, all eyes are on Sting Dion. Named Miss Wynwood Pride in 2025, Dion is on a winning streak. Earlier this year, she traveled to Chicago to compete in a renowned, long-running national drag pageant. She walked away with the crown, winning Miss Continental Newcomer 2026. It was a fitting accolade. Whether she’s death-dropping onstage at the Villain Theater’s Doll Linkup or sliding into a split on the runway at R House, Dion’s signature is serving glam: voluminous wigs; elaborate, studded and feathered dresses; and sky-high cheekbones.

Sunday brunch in Fort Lauderdale has always been a lively affair. Then Drag Brunch on the Beach arrived at Señor Frog’s and turned the dial straight into party mode. Set steps from the sand, this weekly spectacle mixes giant personalities, sharp comedy, lip-sync battles and crowd interaction with unlimited mimosas and a beachfront backdrop that begs for all the Instagram stories possible. The cast rotates some of Florida’s (and the world’s) fiercest drag talent alongside “RuPaul’s Drag Race” fan favorites including Latrice Royale and Mhiya Iman LePaige, creating a show that swings from hilarious to jaw-dropping in split seconds. Birthdays, bachelorette parties and friend groups pack the room each week while performers strut through the crowd in towering heels and dazzling looks. VIP guests score preferred seating, open bar access and meet-and-greets with the queens, though general admission is a total win, too.

If you’ve ever had the privilege to see emerging burlesque performer Villea grace the stage, you know she’s a powerhouse. One moment, she’s seducing a crowd with a tantalizing routine, the next, she’s wowing audiences with her enchanting vocal performance, singing songs live for an added thrill. You may have even seen some of her enthralling poses in surrealistic photoshoots. Wherever you see her, you’ll recognize the star potential. If you catch Villea’s name on a showbill, don’t miss your chance to experience this tremendously talented act yourself so you can say “I saw her when.”

A karaoke room is a sacred place. It’s a sanctuary where even those who struggle to hold a tune can let loose and belt their hearts out with little to no judgment. There’s (typically) no wrong way to karaoke – especially at Bird Bowl’s private karaoke room, where everything just feels right. Located inside the historic bowling alley in Miami’s Westchester area, the modern space features two large flat-screen TVs, pink and purple mood lighting and a cozy leather couch where amateur singers can gather for renditions of their favorite pop songs. For those in need of a little liquid courage, waiters roam the lanes serving everything from pitchers of beer and margaritas to glasses of red wine — meaning you never have to leave the karaoke room between songs. The transparent room sits directly next to the bowling lanes, so the experience comes with an audience, whether you want one or not. That’s okay, though, because in the bowling alley karaoke room, we’re all fam. 

For a few years, it seemed there were no ladies’ nights in this city, then something miraculous happened. As the economy tanked, ladies’ nights started cropping up, each more appealing than the other. Sweet Caroline, known for “Karaoke. Cocktails. Chaos,” heard the siren’s call of thirsty broke women across the city and launched the best ladies’ night around. Free well drinks and a microphone are literally etched into ancient stones as the ingredients for a fantastically messy and unforgettable night out. They’re bringing the party to the table on Wednesdays at the Brickell location and Thursdays in Wynwood, both from 8 to 10 p.m. Edit your list of karaoke favorites before you start gulping complimentary bevs, and plan to Uber home. 

In a city that runs on rhythm, standing out in the Latin party scene is no small feat — and yet, Rosario Miami keeps coming up in conversations that start with “Where should we go tonight?” Word travels fast when the music hits right. Equal parts sweat, swagger and serotonin, Rosario has built a reputation for nights that feel less like going out and more like giving in. The playlists don’t play it safe, the crowd actually dances and the energy rides that perfect line between nostalgic and now. You don’t go to Rosario to stand around with a drink and nod along. You go because something about it pulls you in, spins you around and reminds you that Miami, at its core, is meant to move.

Over the last 43 years, the renowned Miami Film Festival has championed voices in storytelling and artistic expression in South Florida. Hosted by Miami Dade College, this highly anticipated event showcases films from all over the world to cultivate culture and inspire discourse within communities. Every year, Miami Film Festival conducts discussion panels and film screenings, from indie films to international releases, across local Miami theaters. The festival culminates in an awards ceremony featuring celebrity honorees and bestowing various grants to filmmakers who will soon alter the cinema landscape. This year, the 43rd-annual festival was attended by actor and honoree Adam Scott (of “Parks and Recreation” and “Severance” fame), where the winning filmmakers earned more than $100,000 in grants across several categories. Miami Film Festival brings art en masse to South Florida, enriching lives and shaping perspectives.

We may have no clue what’s going on with the Coconut Grove Playhouse, but thanks to a new festival launched two years ago by Grove-native and playwright William Hector, its theater scene will soon thrive once again. The Coconut Grove Theatre Festival pairs local or Miami-native playwrights and directors through a speed-dating process to orchestrate staged play readings. The festival already boasts multiple sold-out shows along with two children’s productions at the Woman’s Club of Coconut Grove. It’s had a revitalizing effect, sparking new community, connections and conversations in a neighborhood once known for its culture and quirks. Hector’s goal is to make theater prevalent year-round throughout the Grove, and to inspire a new generation of theater kids to become theater adults who bring Miami’s stories and their wildest ideas to the stage year after year.

After a yearslong renovation, Freedom Tower finally reopened with a suite of gleaming new exhibits detailing its historical significance, but perhaps more enticing is a separate exhibition from a very sporty tenant (No, not Melanie C). FIFA, the international governing body of soccer, opened this branch of its museum in the landmark ahead of Miami hosting matches during the 2026 World Cup. Fútbol fanatics can admire historic artifacts relating to “The Beautiful Game,” admire jerseys from every FIFA member country, and even play some rather esoteric trivia courtesy of one interactive exhibit (Sorry, I don’t know who scored Cape Verde’s first goal in regulation play!).

Beauty standards are just different in Coral Gables. Homeowners couldn’t have trucks in their driveway until 2013 and still need to use Board of Architects-approved paint colors on their houses. The atmospheric magnificence of the Coral Gables Branch Library is a natural result of that dedication to aesthetics. With its coral rock exterior and modern-but-cozy interior, the library was always a dreamy refuge from a steamy summer rain. In 2023, two-year renovations produced not only nicer places to plant your tush with new bathrooms and furniture, but also historic preservation of its signature tiles, wooden beams and textured service desk. It remains all vibes inside and even outside, where kids can pretend they’re Mowgli in the shade of the banyan trees — a perfect segue for spending an afternoon in the colorful children’s section-meets-playspace to pick up a copy of “The Jungle Book.”

At Design and Architecture Senior High, creativity isn’t extracurricular, it’s oxygen. This Design District powerhouse routinely lands on national top 100 lists and ranks among Florida’s best for the arts, but the real flex is the students themselves. Case in point: when one teacher tried to offload the job to AI, DASH kids did what DASH kids do and out-designed the system. Essays came back sharper, more idiosyncratic and unmistakably human, written with voices no algorithm could fake. Petty? Maybe. Brilliant? Absolutely. Studios hum, sketchbooks fill and critiques land with the precision of a well-cut pattern. Here, ambition shows up early and stays late — usually with coffee. If Miami’s future looks bold, it’s because DASH is already drafting it.

In a city defined by nightlife and pop culture, the Knight Concert Hall brings a whole different type of energy. It hosts world-class classical music concerts in the heart of the city at one of Miami’s premier cultural institutions — the Adrienne Arsht Center for the Performing Arts. The venue was designed with one intention: for concertgoers to experience exceptional acoustics. It was built as a room within a room, so outside sound can’t get in, and the venue boasts state-of-the-art L-Acoustics and Mayer sound. In addition to acoustics, locals say their favorite things about the venue are its architecture, atmosphere and ambiance. It’s also been said, that no matter where you’re sitting, there’s not a bad seat in the house. The theatre seats 2,100, with three rows of balcony seating on both sides. Performances include the New World Symphony, visiting orchestras, chamber ensembles and internationally recognized soloists.

A superlative like “Best Club” is meant to be an establishment’s highest honor, though in this case, it almost undersells Mode’s full scope. More than just a club, it operates as a lounge, bar and listening space across two stories. Still, a title is a title, and Mode earns it. The downstairs room stretches wide, lined with speakers and carrying the feel of a New York basement, with all the attendant energy. Its bookings lean toward house royalty, including Steve Lawler and his Pendulum party, and Miami’s legendary DJ, Oscar G. The space delivers the hallmarks of Miami nightlife: crisp sound, immersive lighting, disco balls and plants — but what sets it apart is its ambition. Transforming the venue into a multi-use space devoted not just to electronic music but to all music is a rare feat. Basements may be unfamiliar terrain for many Miamians. Nonetheless, this repurposed Cold War shelter reminds you that, when in doubt, head downstairs.

To the eye, Generous B (Ben Cohen) isn’t hard to miss between his height, Vampire-meets-raver aesthetic and caring eyes. To the ear, his all-welcoming sounds have become a Miami mainstay as he soars through the soundscapes. Hailing from New Jersey, Cohen began his career as a modest wedding DJ by night and a hardcore NYC raver in the early morning thereafter. That appreciation for underground parties and the ability to mix countless songs for newlyweds merged to form the Generous B we know today. He developed a true underground sound while remaining unpredictable behind the decks; for example, weaving The Isley Brothers’ “Shout” into Journey’s “Don’t Stop Believing.” Cohen has blessed clubs Floyd, Club Space and Eagle Room, among others. A fan can also gather at his weekly “Generous B Presents” shows at Jolene on Thursdays, where he and newcomers he co-signs spin all night long. His moniker gives away Cohen’s generosity to his fans, but the name may also mean being generous enough to play everything and spread the love. 

From stages in Port-au-Prince, Haiti, to the dance floors of Wynwood, DJ Bullet has become one of the most influential ambassadors of Haitian music in South Florida. He started more than a decade ago while a student at the University of Miami, where he quickly built a reputation for sets that blended dancehall, Kompa, Afrobeats and mainstream hits into an infectious Caribbean soundtrack. A pioneer and early producer in the Rabòday movement, he’s cultivated a loyal following that stretches far beyond Miami. He traveled back and forth between his hometown and South Florida to spin at local clubs and concerts, opening for juggernauts including Burna Boy, Davido, Sean Paul and Steve Aoki. Three years ago, he teamed up with event producer Jones Pierre and Shrine frontman Jason Panton to be at the helm of a new Kompa party, Tap Tap. Launched at The Oasis in Wynwood (now Throw Social), Bullet transformed it into a nationally recognized experience that toured from Toronto to Atlanta and attracted appearances from popular Haitian artists Baky, TroubleBoy Hitmaker and the iconic Kompa band Carimi. In April, he drew more than 1,600 attendees for a special Haitian Flag Day edition, culminating in a full-circle moment back where it all began at Throw Social. Whether he’s introducing newcomers to Kompa or keeping the Haitian community connected to home, DJ Bullet continues to elevate Haitian culture one packed dance floor at a time.

A rising tide lifts all boats — but what force raises the tide? On the planet generally, we credit the moon. In the Miami hip-hop scene, the man currently creating that motion and depth is indisputably producer and scene evangelist Fat Jesu$. First, there is the music — not just the crackling, head-turning recent album “I Love Fat Jesu$,” but a vast series of collaborations with artists such as Krissy Celess, Champolaa, Prez P, Zoe Deuce Papi, Meek Gucciano, Rippa DeLaHoya and many others. Then, there is his tireless championing of the local scene, sometimes acknowledged and other times perhaps taken for granted, but always passionate and focused on a future certain to be all the more glorious because Fat Jesu$ dared to dream bigger, work harder and manifest it out of the ether. 

Part of what makes Sable so special is that it conjures the Wynwood of old, offering a space that prioritizes music over scene, vibes over VIPS and feels endearingly more local than the neighborhood around it. The draw here is a rotating cast of vinyl DJs who focus on diverse genres of electronic music — but sound isn’t its only highlight. The 10,000-square-foot venue does double duty, serving as a coffee shop and café by day and a cozy lounge at night, making this a great spot for both your morning matcha and your evening booty shake. In summer 2026, Sable will add Amba, a late-night shawarma shop, to its offerings, giving regulars more fuel for dancing the night away. 

You’ve heard of it, tourists have heard of it and chances are your grandpa has heard of it, but for all its fame, Lagniappe stays up on quality. This New Orleans-style wine house — located at the intersection of Wynwood, Midtown and the Design District — has some of the best night-for-night jazz talent in Miami. Featuring local heavyweights from Anemoia to Juke, this intimate place to eat, drink and listen offers a perfect spot for a social night out or a me-date, if you’re flying solo. No-fuss and no-reservations, the venue blends a cozy, laid-back living room vibe with a casual-chic patio atmosphere to give the feeling that you’re right at home any night of the week.

When founder Wizzmer first started jamming at open-mic nights around Doral back in 2016, he probably didn’t dream that a decade later, his brainchild would land a Grammy nomination and photobomb Bad Bunny at the ceremony. That’s exactly the only-in-Miami trajectory that Los Wizzards – self-dubbed The Miami Funk Machine – carved out. The multicultural eight-piece makes its wizard magic every day by blending funk, hip-hop, jazz and Spanglish attitude with Latin rhythms into a signature sound that critics have compared to a Magic City version of Bruno Mars. The band’s latest album, “ALGORHYTHM,” earned a 2026 Grammy nod for Best Latin Rock or Alternative Album, and the group performed at the first-ever Grammy U festival during Grammy Week in Los Angeles. Original tracks “Jodido Pero en Miami” and “Spanglish Love” capture something real about this city, while members Rafa Querales, Juseph Ballestero, Roy G, Samy Hawk and Teo Bok merge the friction and joy of living between languages and cultures with horns blaring and a unique ability to get crowds on their feet.

Miami closures have taught us that when something is gone, it’s gone forever and canonized into our minds — but enough was enough. In a Miami miracle, the haven for metal, goth, post-punk, alternative and live music that is Las Rosas was resurrected, complete with all its old charms. We need not lament on the past. It is sufficient to know that Las Rosas reopened last August at its old homestead in Allapattah. There are the iconic bar and pool tables in the front and the stage in the back, meant to be a place to go wild, dance and thrash to whatever the locals are stirring up. Importantly, there are no bottle service or VIP options — and there is no need. It’s a place for locals to hear live music unassumingly (or catch a wrestling match) without fuss or guilt. It’s as local-centric as it gets, and it’s hard to think of anything more metal than that. 

The debut EP from South Florida punk rockers Ursa Arcana, “Buy American,” turns suburban ennui into something loud, sharp and cathartic. The six-song collection is a lifelong project, written by lead vocalist JD across their teen years and into adulthood. This coming-of-age queer dispatch has electrified audiences from Respectable Street to Las Rosas, Churchill’s and Propaganda all year with crowds chanting the lyrics to “U Look Like Hell.”

There is one more “special holiday” in Miami in October besides Halloween, and that’s III Points Festival. Since 2013, what started as a grassroots event has grown into a behemoth, creating space for local bands as well as massive national and international acts to perform across two days in Wynwood. The eclectic programming covers a lot of ground, giving music lovers a chance to dance to artists ranging from Sean Paul and Justice to Rosalía. There is a stage and space for every taste, and the event also features art, technology activations and plenty of food vendors. Despacio, a traveling sonic space created by James Murphy of LCD Soundsystem and Soulwax, is a truly special treat that occasionally finds a home on the festival grounds. Although it is not expected every year, Despacio adds an extra layer of quality to the event. To sum it up, booking variety, heavy local programming and out-of-the-box activations make III Points the Miami music festival you can’t miss in 2026.

Music radio personalities are like pseudo fairy godmothers. They make sitting in bumper-to-bumper traffic on I-95 somewhat tolerable. You’d go crazy without turning on a station to listen to radio personalities’ interviews, storytelling and musical playlists that turn any traffic nightmare into a dance party. For all that and more, Mack in Miami takes the cake. He’ll have you laughing when you want to cry because you haven’t moved in 25 minutes. His playlists transport you from the driver’s seat to the front row of your favorite musicians’ concerts, and his storytelling and interviews make you feel like you’re sitting with them on the couch at home, not all buckled up. Mack is the guy to get you jammin’ in a traffic jam that seems like it just won’t end. 

In 2020, COVID-19 locked the world down and one of the few upsides came by way of spare time. Dania Sixto used hers to explore her partner’s modular synth setup. Today, she’s a confident artist in her own right, channeling unbridled tactile freedom to channel her authenticity. Last year, she released her debut album, a live-recorded DAW-less EP titled “Temporal Lapses.” Inside a kosmische soundscape, Sixto’s self-composed synth patches draw temporal parallels between hypnotic oscillations and human heartbeats. Sixto created music out of necessity, but it prompted a self-actualization that she now bestows in others. Outside of live performances, you can find her introducing modular synthesis in workshops where anyone can learn the fundamentals of sound design without going into debt or succumbing to frustration. 

On Jan. 13, 1989, brothers Jim and John Camacho formed The Goods. The alternative rock band quickly grew into a local phenomenon and represented Miami on national stages, performing alongside Pearl Jam and Cher, and even landing its own one-hour special on VH1. After a 10-year run, the group disbanded in 1999. New Times recognized their legacy, naming the band one of the 50 Best Miami Bands of All Time. On April 25 of this year, they returned to the stage for one night only with a show at the Mandelstam Theater. The comeback, however, wasn’t limited to that performance. The band also released a documentary, “Love Will Come to You,” and announced a new album featuring unreleased songs and archival recordings to be released via Think Like a Key Records, giving longtime fans and newer listeners another chance to dive into the group’s history.

Blink and you might miss it, and that’s half the charm. Tucked into the rhythm of Coral Gables, The Burrow is a 50-seat hideaway that trades velvet-rope theatrics for something rarer: intention. It’s quaint, intimate and quietly electric; the kind of room where every note feels personal and every set unfolds like a secret. Owner Omar Yunes curates with a deep reverence for musicianship, scouting talent far and wide and giving jazz its proper due while letting genres bend and breathe. On select nights each month, the space transforms into a listening room of the highest order, hosting talents including Charlie Porter and Anna Paloma. More of a private club with membership options that keep the vibe considered and the crowd tuned in, The Burrow feels like a sanctuary where the city softens, the lights dim just right and the music takes over.

Born from the ashes of the former Oasis Wynwood space, Throw Social Miami has quickly emerged as a standout outdoor venue in the city. From the creator behind Throw Social Delray Beach, this brand-new hotspot features a 34,000-square-foot outdoor space, offering an immersive experience where live music, craft cocktails, savory bites and vibrant social spaces come together seamlessly. Guests can enjoy performances from live bands and late-night DJs on a high-energy stage while relaxing in luxurious cabanas and lounges, or exploring games like ping pong, cornhole and more. The drink menu includes inventive cocktails, including the Lavender Lullaby Martini, Cherry Crush and the Orange Dreamsicle Batanga, alongside refreshing zero-proof options, including the Nojito and The Pink Drink. Complementing the lively atmosphere is a diverse food menu with bites that can be enjoyed throughout the venue, including The Villa, an upscale indoor space that brings the party inside. With its blend of entertainment, elevated design and all-around fun atmosphere, Throw Social Miami delivers a memorable experience perfect for girls’ night, date night or even brunch. 

A dark red room, endless roses, melting beats and a sonic love affair are what set My Friend Misty apart from most. Hosted about monthly at downtown Miami’s Floyd and spearheaded by David Sinopoli, Veronica Gessa and Elad Zvi, the party enters its third year with music meant to keep you in a trance. The sounds range from house, techno, disco, left field and rock, twirling into a haze. The room adjacent to the stage is turned into a space Gessa designs to fit the mysterious motif of Misty. The sets are all back-to-backs by locals, with Sinopoli and Zvi usually closing. The beats seldom peak past 125 BPM, yet the slow, humid basslines are just as enveloping as any hard techno. Together, Gessa, Sinopoli and Zvi shape a room that binds Misty to her l’amour fou: the crowd.

There are venues that host shows, and then there are places that feel like they’ve slipped through a portal. Palapa lives firmly in the second category. Built by a team from the Seminole Tribe of Florida, it looks as if Tulum and Morocco had a creative collision and decided to stay up late designing a dream. The vibe is set by lantern light, textured wood, open air and just enough mystery to make you wonder if you’re still in Miami. When it first opened in 2020, acrobats quite literally shared the stage with the crowd. These days, Palapa leans into curated tribute nights that sell out fast, from Sade and Prince to Freddie Mercury and Buena Vista Social Club. The reinterpretations don’t feel like cover shows so much as reinventions, pulling familiar music into something warmer, looser and more transportive. It doesn’t feel like a night out. It feels like being dropped into another world where your next favorite artist is always about to come on stage.

George Spits has trouble sitting still; always has. For most of the past year, he barely spent two weeks at home, bouncing between shows, festivals and studio sessions. Then, on March 25, he broke his ankle in two spots, tore tendons and fractured his heel. He’s been mostly bedridden since. The universe conspired to make him slow things down, but he’s responded by mixing and mastering records from bed. That’s just how he operates. The Miami producer and rapper, raised here since he was a year-and-a-half old, has spent more than two decades hustling his way from spitting verses at dive bars to producing songs for national acts. He’s produced three albums for Slightly Stoopid, with sessions that have allowed him to work on tracks with Sublime, B-Real and UB40. A track he co-produced with James Wisner, who first introduced him to Slightly Stoopid, was recently featured on Wiz Khalifa’s live Twitch stream where the rapper recorded a verse on it live. Closer to home, he’s been producing Miami acts, including Good Bison and The NightSky, plus finishing his third solo album and putting out a debut EP with collaborator Mario DeMoura.

If you were raised in the County of Dade, your bus driver was likely giving you a musical education by blasting Hot 105.1 to and from school every day. Today, the smooth, soulful genre you grew up with has since been given a makeover by a new generation of artists. Modern R&B might feature rhythms from around the globe or, with alt-R&B, an electronic edge. Haitian-born Miami artist Kanis brings the latter to her songs that feel like a slow dance in crystal clear waves. She infuses her particular style with Caribbean genres Racine, Voodoo and Rara, forging a fresh path for R&B. When she recently shared that she’s gay, she shattered social norms in a traditionally conservative genre, creating a new safe space for LGBTQ+ musicians. 

Every Sunday night, tucked inside Brickell’s sultry restaurant-lounge hybrid SunKissed, Love Language transforms the end of the weekend into one of Miami’s most coveted gatherings. Founded by Toronto native Kyle “Hoto” Reid and soundtracked by veteran DJ Michael “mikeflo” Flowers, the weekly gathering trades velvet ropes for something increasingly rare in Miami nightlife: genuine connection. Bathed in romantic red lighting, the room bumps with a timeless mix of ’90s R&B slow jams, dancehall classics, hip-hop and Afrobeats anthems. Now in its third season since launching at Dua Hotel and a stint at Bargean Miami in Little Havana, the evening unfolds in two acts: an intimate supper club where guests enjoy cocktails, small plates and live performances from an R&B cover band, followed by a packed after-hours experience where every corner of the room becomes a singalong. On any given Sunday, celebrities like Shenseea, Leon Thomas, Flo Rida and Erica Mena may pop in, but status takes a back seat to the vibe. Flowers prefer to spin from the couches instead of a traditional DJ booth, blurring the line between DJ and guest. What began as an idea to bridge the gap between entrepreneurship, culture and nightlife has evolved into the hottest R&B night in the city. Love Language proves the best parties aren’t about who gets in, but making everyone feel like they belong.

When driving and in doubt, just tune into 90.5 “The Voice” — always a safe option if rock, alternative, indie and electronic are your jams. The noncommercial college radio station is run by students from the University of Miami, broadcasting over the airwaves of the 305 and the world online. Beyond regular rotation, programming features specialty shows that highlight news and sports, as well as “Metal Revolution” (a show that has been on air for generations), and “Sazón” and “Batería y Reggaetón,” two shows that explore Latin sounds. Local bands often play live in the studios, and national and international artists frequently sit down for interviews with students. Since its founding in 1968, WVUM 90.5 FM has been both reliable and unpredictable in the best of ways.

Lolo Reskin has spent more than two decades watching local artists move through her shop, Sweat Records, playing in-store events and building real followings without ever getting their music pressed to vinyl — a sacred rite of passage for any band. In 2018, she decided to do something about it. Sweat Records Records, the store’s boutique label, launched with a clear mission. “We want to put out records we’re passionate about and lift up artists,” Reskin says. The catalog is small by design and strong by intention, featuring the likes of Miami folk duo Dracula (Dorys Bello and Eli Oviedo, performing in five languages), Las Nubes, Richie Hell, Stars, and a previously unreleased 1980s freestyle track from Debbie Deb recovered from warehouse tapes and finally given its moment. Releases have landed on NPR Music, BBC, Remezcla and Brooklyn Vegan. The label represents the culmination and natural evolution for an essential part of our city’s musical ecosystem.

Tucked inside a warehouse complex in North Miami, Lulo Records has a small footprint but a deep, thoughtfully curated collection. From a dedicated and robust jazz section to Latin titles and South American rock — unsurprising given its Argentine owner — the shop also features a high-shelf selection of rare pressings, including Blondie and Depeche Mode albums, Japanese editions and other hard-to-find gems. A back area is dedicated to DJs crate-digging for their sets, complete with a semi-private listening room and a solid catalog of disco. Lulo Records also functions as a video and content creation hub for DJs, offering a space to record sets that are later uploaded to the shop’s YouTube channel. The staff is knowledgeable and welcoming, always ready to offer a cup of coffee and guide you through titles you’re searching for, or introduce you to genres worth exploring more deeply. Beyond its main location, Lulo Records hosts several pickup spots and pop-ups around the city, with much of its catalog also available online.

This post-metal trio has been spreading its sludgy, droning gospel since 2015. The Cuban-American band is composed of Lauren Palma (guitar and vocals), Ryan Rivas (bass and vocals) and Hector Mojeno (drums). Bleeth’s sound highlights the legacy South Florida has built around metal, proving that heavy and groovy melodies can coexist. Bleeth has been releasing records since 2018 and has embarked on several national tours, sharing stages with Caveman Cult, Wrong, Eyehategod and Crowbar, among others. In songs, the band’s not afraid to dive into uncomfortable topics such as fear of control, the self and manipulation through injustice. Beyond original tracks, Bleeth also experiments with covers from other genres, which it invariably makes its own. In 2026, the group promises to release new music, and Miami shivers with anticipation.

Imagine mixing dream pop with jazz fusion, sprinkling in a bit of soul, a dash of alt-indie and a hefty scoop of polyrhythm. Add an extra Miami-specific ingredient to the concoction — let’s call it Chemical X — and Ana Paz is born. Her first EP entitled “Surrender” (2025) is a three-song reflection on grief, exploring the complexities of longing and a desire for the past. Known for her ethereal harmonies and catchy melodies, she’s spending 2026 honing her craft as a singer, songwriter and multi-instrumentalist. Intimate, profound and cinematic, her unique sound is a meditation on personal pain channeled through collective art.

As a Hollywood, Fla., native and Miami music scene veteran, Steven Toth — the man who christened himself Mr. Entertainment — has long been a droll musical chronicler of the many facets of our strange state. He’s found inspiration in the tragic and trivial alike, referencing the Pulse nightclub shooting in the song “Broken Record,” while the song “Midnight Cowboy” nods to the great movie by the same name which shot some some scenes in his hometown. With the latest album from his rock band Mr. Entertainment and the Pookiesmackers, “Don’t I Know You From Somewhere?,” Toth and bandmate Emile Milgrim find lyrical space to muse on everything from their musical influences to the secret lives of parents. While there are two cover songs (Velvet Underground and Fugs) on the album, most of the tunes serve as a time machine to channel their musical influences, whether that’s 1960s psyche folk in “Zeppelin, Faeries And All Of That Shit” or the 1980s synth rock of “Merkin for the Man.”

After graduating college in Boston and spending a year abroad in Beijing, Victor Princiotta returned home and noticed there were no shared spaces between Miami’s disparate subcultures. To establish dialogues between them, Princiotta started an online forum called Autonomy. A year later, it evolved into a roaming, DIY party series under the same name. Lineups featured an eclectic mix of performers and bands across genres. As the project grew, more collaborators joined the fold. Laura Solarte, better known as Bitter Babe, opened the door for international bookings. Stephanie Burt, aka Marie Qrie, brought booking experience from III Points and The Ground. Grace Tillyard, aka Xilla, formerly of London collective Sisu, joined the effort after relocating to Miami. Today, Autonomy is Miami’s most trusted incubator for left-field sounds. Last January, the collective celebrated its 10-year anniversary at The Boombox, and in March, the brand collaborated with Record Behavior and Guest House Radio to debut a camping festival.

Respect your elders, kids. Churchill’s Pub has been around since 1979, providing a stage for both established and up-and-coming bands. Many legacy acts have performed within its gritty, stained, sticker-covered walls. More importantly, countless newcomers have used that same stage to build their chops or test new songs in front of a crowd, knowing they’re performing where history was made. The secret to its longevity? Resilience and no identity crisis. Despite shutting down during the pandemic, undergoing a change in ownership and even surviving rumors of being replaced by a Chili’s, the “CBGB of the South” rose from the ashes like a phoenix last year. It returned looking almost exactly the same, save for a few tune-ups: fresh paint, upgraded bathrooms and a new patio. Most crucially, it still provides a home for the weird, the loud and the indie.