Showing no real signs of slowing, III Points continued on a balmy Sunday evening. At that point, you'd think the crowds would be running on fumes thanks to the 5 a.m. closing time, but the energy remained high going into the third and final day of the festival.
Despite a slower start than Saturday, by the time headliner Erykah Badu took the main stage, the grounds quickly filled. Over at Boiler Room, Egyptian Lover packed the small warehouse space, whose entrance was guarded by a security officer to ensure the crowd size didn't violate the fire code.
For attendees looking for some breathing room and A/C, DJ Koze's set on the Main Frame stage was criminally empty thanks to
One thing that was abundantly clear was the number of late start times and technical difficulties that marred the festival on the final day. Chalk it up to growing pains. Yes, this was III Points' sixth year, but it's also a year of transition because the festival is trying to prove it can remain a niche experience for festivalgoers while still attracting large crowds to remain financially viable.
Here's what else you might've missed on day three.
Jaialai. Homegrown band Jaialai opened the final day on the main stage with a heavy dose of ‘70s psychedelia. Though its set was limited to 30 minutes, the band still took the time to build up its extended rock jams as the sun set across from the Mind Melt stage. Though Jaialai was mainly known to local attendees, the audience steadily grew as the Sunday crowds flowed in. And rock stars — local or not — making the jump from the Sector 3 stage to the Mind Melt stage in just a little over a year might as well pull rock-star moves: Singer Oscar Sardiñas rolled onto his back and played guitar on the ground as the set came to a close. The crowd was screaming for them long before that. — Celia Almeida
Rick Moon. When Rick Moon’s band got an early start at the Sector 3 stage last night, no one expected it would mean an early exit too. The band was slated to begin its set at 7:25 but began about five minutes early. The audience danced along to Moon’s sweet harmonies and melodies nodding to powerpop and '60s pop-rock groups. But immediately after the band played its third song, which Moon announced will be on his next EP, Electric Lunch, to be released this year, stagehands swiftly and inexplicably gave the group the boot. “We’re getting shut off,” Moon said as fans screamed angrily for organizers to let the band play its allotted time. Fans continued to protest even as the next performers set up onstage. It eventually became clear that Moon’s performance had been cut short to squeeze in an unscheduled performance by the Dream Defenders. Though their message was welcome and urgent, it’s unfair to Moon that after probably days or weeks of rehearsals, his time at III Points was cut short. The move was equally unfair to the Dream Defenders because their performance was not given due recognition in advance of their time onstage. — Celia Almeida
Blood Orange. Dev Hynes is one of those conundrums whose work is distinctive yet malleable. He's a man of many projects and personas, but his music as Blood Orange has brought him the most success, both critically and commercially. He's collaborated with artists such as Solange Knowles, Sky Ferreira, Carly Rae Jepsen, and Kylie Minogue on ethereal and
Egyptian Lover. Despite hailing from Los Angeles, the legendary electro DJ delivered the most magnificent Miami-bass-inspired set to close out the festival. The Boiler Room stage lived up to its name as crowds filled the space to capacity. Egyptian Lover's set nodded to acts such as Prince, 2 Live Crew, Kraftwerk, and Afrika Bambaataa by hyping up the crowd through nonstop call-and-responses. "Eight-oh motherfucking eight," he yelled into the microphone, which the crowd quickly gobbled up and spewed right back at him during his entire set. The hip-hop influence was also evident when he bragged, "On these turntables, I
Tim Hecker and the Konoyo Ensemble. Few places on Earth are more prone to natural disasters than Japan, which endures typhoons, earthquakes, tsunamis, and, lately, record-setting heatwaves. It was appropriate, then, that Tim Hecker’s performance, following his recent gagaku-themed album Konoyo, offered III Points a tidal wave of sound. Performing with the Konoyo Ensemble — in this case, Hecker on his laptop and an instrumentalist playing a series of Japanese instruments such as taiko drums and various woodwinds — the Canadian drone composer delivered a set mostly comprising a wall of sound, mysterious textures, and tones atop a devastating series of loud bass rattles. In essence, it was an extreme sound bath, and its most intense waves of vicious noise shook the room to its core. That might not sound very relaxing, but Hecker’s harsh, mystical frequencies, set amid columns of light and billowing smoke at the Mind Melt stage, felt all the more satisfying after two days of partying. — Doug Markowitz
Godspeed You! Black Emperor. This may well be the only time we will ever see honest-to-god string instruments at III Points. Godspeed You! Black Emperor began its set, the band’s first Miami performance, when a violinist and string bassist strode onto the stage, tuned their instruments, and began the haunting, symphonic-sized performance with a series of eerie drones. From there, guitarists, bassists, and drummers — at least six, maybe more (it was pretty dark) of the Montreal
Erykah Badu. Capping a day of mounting scheduling issues, Erykah Badu finally gifted the III Points crowds with her queenly presence almost 40 minutes after her performance was scheduled to begin. The set followed a spoken-word performance by Aja Monet, who paid her respects to Badu and the overall power of women. “It’s rare that poets get invited on stages like this,” she added as she hyped the crowd for the coming performance.
Badu took the stage while excerpts of her viral-before-viral-was-a-thing hit “Tyrone” blasted over the crowd. Wearing her signature sky-high stovepipe hat, she delivered a set that spanned her
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ASAP Rocky. Despite raising my L's to his music since 2011’s “Purple Swag,” the universe had not yet allowed me to be in Rocky’s proximity for a live show — until last night. After nearly a decade of waiting for Pretty Flacko, the extra 37 minutes spent standing in front of the Mind Melt stage anticipating his arrival felt like an eternity. On day three of the marathon festival, some attendees were looking haggard as the clock inched past Rocky's scheduled 12:30 a.m. start time. With dry red eyes and a scratchy throat from a long weekend of cheering and standing in smoke, I wondered whether the crowd sitting on the ground around me would be able to summon the energy for a show like this. Could we, would we, get lit? When Rocky finally appeared onstage, he was standing behind a large black screen, his silhouette further heightening the buildup. I was hoping he’d jump straight into a hit to jolt us back to life, but his choice to start slow and psychedelic didn’t seem to affect the audience’s attention. Though we were all clearly ready to kick up the energy level, it did feel like a special reward for our