III Points 2015 Festival Review: From Worst to Best

The future of Miami, Florida is bright and alive in Wynwood


    Miami is obsessed with expansion. In fact, the city is number one in population growth for all of the United States. Pretty cool, right? So, what is the 305 doing right now to address this trend? It’s building: multiple skyscrapers and condominiums, the Perez Art Museum along with next summer’s Patricia and Phillip Frost Museum of Science, hell, there’s even a tunnel.

    Still, there’s a real nostalgic burden to seeing what used to make this city so great being replaced with something that’ll make the city even greater. Granted, that feeling is very counterproductive, but as the old neighborhoods make way for the new condominiums, it’s easy to weep. Case in point: Miami’s goldmine of a district, Wynwood.


    Photo by Carlo Cavaluzzi


    “Our vision is simple,” the developers of the area have previously insisted, “as one of the largest land owners in the district, we see it as our responsibility to continue the renaissance started by our predecessors and peers, creating a neighborhood catered to the creative class and cultivating Miami’s future as a cultural capital for Latin America.”

    Currently, there are plans to construct a 24-story condominium and a convention center around the area. And while the intention is to capitalize on the ensuing culture, there are those that fear it might squash it — enter III Points. Founded by David Sinopoli, the three-day festival thrives in Mana Wynwood and explores the intersections between art, music, and technology.

    intro gif III Points 2015 Festival Review: From Worst to Best

    Photo by Carlo Cavaluzzi


    Over its three years of existence, the festival has accepted any and all obstacles Miami has thrown at it, from weather to relocation to budgeting — it doesn’t matter. This past weekend, however, III Points proved that Sinopoli and his community of cultural enthusiasts are hungry — starved even — at growing Miami, but only if the city on the sea can keep its soul and spirit.

    So, read on ahead and experience the weekend for yourself.

    –Phillip Roffman
    Staff Writer

    We’re Doomed

    Ghostface Killah + Doom

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    Photo by Carlo Cavaluzzi

    Remember that problem Doom had where he didn’t show up to his shows? Where he hired actors to sing into dead mics? Well, Doom found a solution to that problem: All he has to do is press play and have a large projector and a decent sized screen—trademark Best Buy shit.


    Leading up to the festival, III Points presented Doom’s appearance as “a one-of-a-kind, interactive performance, where DOOM will appear from the other side of time, on a live screen.” What Miami received was a pre-recorded 40-minute video of Doom piecing a “mix” together, which was followed by a distorted Doom mask that may or may not be your next screensaver.

    doomstarks 0786 III Points 2015 Festival Review: From Worst to Best

    Photo by Carlo Cavaluzzi

    Interactive? Well, Doom did smoke a blunt, and hey, Ghostface Killah appeared. With fleeting minutes ahead of him, the Wu-Tang rapper introduced himself — “I just flew in to hang out with y’all real quick” — only to rush through a couple of hits like Ol’ Dirty Bastard’s “Shimmy Shimmy Ya”.


    Strangely enough, he didn’t say a word about his Doomstarks collaboration, but instead reminded us about the lawsuits surrounding his use of the “Iron Man Theme”, which felt unnecessary and wasted. But hey, he at least told us to say peace a few times. Isn’t that great?

    Needless to say, thank god for Bedside’s set. –Phillip Roffman

    Get This Guy a Director’s Chair

    Neon Indian

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    Photo by Kaela Chancey

    Early Friday afternoon, I spoke with Neon Indian’s Alan Palomo and how he interprets his albums. We were namely speaking about his latest release, Vega Intl. Night School, to which Palomo insisted that every song he adds to his catalogue isn’t just a song, but a piece of a larger film. They collectively create a natural progression from start to finish — a satisfying credit’s roll.

    Naturally, Palomo thinks of himself as a director of his own narratives, and he undoubtedly is. He’s well aware of where his sound needs to be and refuses to let up despite any nagging hiccups. Unfortunately, this methodology plagued his Friday night set at III Points, during which he continually walked off to the side of the stage to consult with the soundboard.


    “We care way too much abut this show — so just give us a minute guys!” The patient Miami crowd gave him a handful, maybe more, and while he wound up unpacking a good portion of the new LP (though, he closed the set with “Deadbeat Summer” off 2009’s Psychic Chasms), Palomo would have been better off leaving the director’s chair backstage. –Phillip Roffman

    The Sweatiest and Stickiest

    Toro y Moi

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    Photo by Carlo Cavaluzzi

    As a Florida resident, we’re accustomed to the torture of heat and humidity in our everyday lives. This is because Florida really only has one season … summer. Having said that, Floridians tend to lower their standards for every activity because, frankly, nobody enjoys being sweaty or sticky. Yet, not even these nasty conditions could thwart Chazwick Bundick and co. — Toro y Moi rose to the occasion and crushed it, belting out nearly the entirety of their new album, What For?, with precision, grace, and a focus unlike most artists found at the Mind Melt stage. Fortunately, Florida’s also insanely bi-polar with its weather conditions, and so a surprising breeze soothed the crowd midway through the set. Unfortunately, the whole thing had to come to an end, despite the crowd’s demands for more. This prompted Bundick to announce: “I won’t be playing an encore, for real, thank you.” Ouch. –Carlo Cavaluzzi


    My Body’s Tellin’ Me Yes

    Deaf Poets

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    Photo by Kaela Chancey

    Deaf Poets are in Tony Hawk’s Pro Skater 5. They aren’t actual players in the game — even though Lil Wayne is for some reason — but they’re on the soundtrack. Remember rocking out to Goldfinger’s “Superman” or Millencolin’s “No Cigar”— come on Rage Against the Machine’s “Guerrilla Radio”?! Well, Floridians can now rock out to their local Miami Beach heroes while collecting S-K-A-T-E or unlocking Area 51. Sorry, I’m getting a bit distracted. Anyways, as R. Kelly’s introduction to “Bump N’ Grind” warmed up the P.A., guitarist Sean Wouters and Nico Espinosa turned the key on their 2013 album, 4150, taking out one gem at a time for a little over 30 minutes. It was rocking, it was rolling, and it was a nice reprieve from the electronics. Needless to say, thank god I have a PS4. –Phillip Roffman

    Spot of Hope

    Unknown Mortal Orchestra

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    Photo by Carlo Cavaluzzi

    When you’re at a festival where the main focus is electronic music, a live band can sometimes be a spot of hope. Concluding the Mind Melt stage Sunday night was Unknown Mortal Orchestra. Although they aren’t an EDM group, the crowd still danced their asses off throughout the whole set. Nobody truly gave a shit how they looked while they danced; everyone was in a groovy comedown trance. From the syncopating drum patterns of “Multi-Love” to the hypnotizing hums of “FFunny Ffriends”, everybody was sweaty and nothing hurt. –Carlo Cavuluzzi


    Turnt Up


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    Photo by Carlo Cavaluzzi

    “Let’s play rough,” vocalist Aluna Francis said with a smile from behind her wired microphone. This is, of course, the same microphone that had the luckiest dance partner. For a little under an hour, Francis antagonized the Main Frame crowd with her aspiring catalogue of crowd pleasers. Yes, “You Know You Like It”, “Attracting Flies”, and “Your Drums Your Love” were played to perfection, but this melee of hit singles wasn’t the only form of attack. With extreme confidence at the boards, producer George Reid laid down ZHU’s track for “Automatic”, amplifying the excitement that coursed through the dancing masses. The term “turnt up” certainly applied during this early nighttime set, especially when Montell Jordan’s “This is How We Do It” erupted somewhere within the fiesta. AlunaGeorge, you know how to have a good time. –Phillip Roffman


    Let’s Get It On


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    Photo by Jason Koerner

    When it comes to writing about local artists, sometimes it’s easy to say, “Hey, they’re great, but they’re just missing that one thing.” Bedside was the exception to the rule. This Miami duo brought the Sector 3 stage to life with its incorporation of house, conga, and soul music. It was like listening to a perfect story of a DJ making love to a live band. Everyone from all walks of life made their way over, and no one was still. Hips swayed, hands held, and lips touched, all synchronized to the pull of the sax and beat of the drum. With such passion and appreciation, it makes me wonder why the sound hasn’t been more successful. But I can confidently say that everyone, including those dancing on top of a bus because there just wasn’t any more room on the floor, ended up wanting to take these guys home. Now I know why they call themselves Bedside. –Kaela Chancey

    Most Harrowing Set


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    Photo by Carlo Cavaluzzi

    “I think I got time for seven minutes and 20 … 19 … 18,” said Marcel Everett, dubbed XXYYXX. “Should I play a new song or an old one?” The crowd roared for an old one as Everett wished everyone a good night and closed down shop with “DMT”.


    Earlier on, Everett noted that he had recently moved to Los Angeles and that this show was his first in Florida since his move. As such, he came out relentlessly with the song that started it all, “About You”.

    Fans against the barrier immediately screamed and started thrashing relentlessly to the R&B slow burner, causing the security guards to have the crowd step back and move the barrier back.

    Bottom line: XXYYXX’s sets are harrowing. The Florida native transports his fans to a hazy heaven with muddy beats, dimmed lights, and etheric rap samples. There’s a reason why fans fight to keep it going. –Carlo Cavaluzzi


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