Festival spirits remained high Sunday as an unobstructed morning sun rose over Sunshine Grove to wake 30,000 "
By the Okeechobee Music & Art Festival's third and final full day, we were tired, yes. Our toes were crusted black, and our bulk supply of hummus and beer had reached alarming lows. But with a packed schedule featuring some of our most anticipated artists of this weekend, little could get in the way of this bright and breezy Sunday.
As festgoers streamed into the Grove for the day's main events, crop
I was still pumped to catch Post Malone's daytime set, even though I was only slightly bitter his rep had recently denied my request for an interview. I've had the 20-year-old Dallas native's hits "White Iverson" and "What's Up" on repeat through 2015, and though the young rap upstart has yet to put out a full-length release, the cred he's garnered working with a handful of hip-hop heavy hitters since breaking out on SoundCloud had me eager to see what he'd bring to the festival. Based on the crowd he drew at the Now stage during peak afternoon heat, it's clear Post Malone has a lot of fans like me. Unfortunately, as is often the case with inexperienced rap acts, Malone's 30-minute live set fell short. He opened up with his most recognizable and heavily remixed hit, "White Iverson," though it was immediately clear he was just lip-syncing over the original track, the recorded lyrics and music ducking out intermittently whenever he decided to actually rap some of his verses live. He did switch over to mostly live vocals after his shaky intro, rapping with some attempted enthusiasm to his tracks "Too Young" and "That's It," though his voice came off strained rather than smooth and melodic like on his recordings. Instead of getting the audience hyped, the shoddy production of Post Malone's quick set, especially after seeing countless flawlessly executed performances over the weekend, left us underwhelmed. — Falyn Freyman
After Post Malone's lackluster set, I was counting on rap veteran and one of 2015's most prolific and critically lauded MCs to satisfy my urge to get lit. And though I was a bit nervous to see whether his Auto-Tune-heavy recording style would translate into a live setting — especially one where the sun was still out — Future more than delivered. "Someone just threw a long-ass blunt on the stage," DJ Esco told us before
Big Boi and Phantogram playing music together
If this festival did anything right, it
Mumford & Sons
Holy shit, Okeechobee. Holychoobee, should we say? That's the only word we've got for the phenomenal finish Sunday night at the Be stage. British rockers Mumford & Sons spent the first hour of its two-hour finale by blessing the audience with a collective reminder of the beauty of humanity. Sure, Marcus Mumford dug into us heavy about nearly nominating Donald Trump for president, but he also jumped into the crowd and stayed there for almost an entire song. He kept yelling at people to dance with him. I thought he was going to pass out and die. He got right back on stage and murdered the drums. Let me tell you, there is something special going on when you can jump up and down in with a good thousand or so people and have a massive sing-along to “I Will Wait.” I thought that was it — how could this get any better? Suddenly, they also did a complete about-face and brought out motherfucking Tom Morello. He's like the
turntablist of guitar, playing behind his back, playing with one hand, two hands, HIS MOUTH. It just blew everyone away. They did a couple of duets; then the band left for an encore. They came back with Morello and the Avett Brothers and the PowWow house band of legends to bring the Okeechobee PowWow to the Be stage, performing “House of the Rising Sun” and AC/DC's “You Shook Me All Night Long” and a very Van Halen-sounding rendition of “You Really Got Me.” It was the kind of night you never wanted to end, and Marcus Mumford said they'd definitely be back. Count us in, Marcus. We'll see you next year, Okeechobee.— Kat Bein
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