Future, T.I., and New Year's Eve 2013 at Cameo on South Beach

Tuxed-up guards roamed the peripheries like it was the Macau casino in Skyfall, giving the impression that one wrong move and it'd be off to the rock garden with the komodo dragons. The casino feel extended to Future's presence, which wasn't immediately obvious. His signature style (shades, baseball or skullcap over dreads neatly balled up into a pony, and a vest or jacket) was rocked by a handful of patrons, as if he'd dispatched doubles throughout the club.

Photo by Adam Katzman

We were told that T.I. and B.o.B. were in the club, with shouts out to the somewhere-present Monica. Unfortunately, Monica stayed in the shadows, though B.o.B. took the stage and reminded people he wasn't just a Disney-radio rapper and was still around, literally, performing "We Still in this Bitch." T.I. soon hopped up on the stage, joining to give a similar reminder, performing "Ball" sans Lil Wayne, and after dropping word about Trouble Man, let the club go back to its Future-istic festivities. (However, T.I. was not still "in this bitch" when Future later performed "Magic.")

Finally, around 2 a.m., Future took the stage, addressing us with words from the stars like Moses down from the mountain. He started with "Itchin''" as if joking about how keen we were to see him. Then he dropkicked into "Same Damn Time," the song that most directly communicates that Future is a man of multitudes.

Photo by Adam Katzman

The pole dancers, originally out for the balloon drop at midnight, accompanied the lyrics with a pointed performance as two took one pole simultaneously like it was Cirque du Soleil. Future made a canny comment about the burgeoning local film industry asking, "Can we make a movie? We're in Miami, right?" making me wish that Pain & Gain were actually a sci-fi biopic about his alter ego's life. He shouted out the Latin ladies and black women before launching into "Straight Up." Next was "Gone to the Moon" from last year's Streetz Calling, with its "I'm float like balloons" lyric seeming to be a nod to the ones not yet popped.

Then Future dropped a cut explicitly "for the ladies," the doleful and hopeful "Turn on the Lights" about a good hood girl that he's ready to put on a pedestal and take past the moon in exchange for monogamy. While ironic in a club with many lights, the request was actually not met by the lighting crew, echoing the as-of-yet unrequited nature of the lyrics. Future jumped around between Pluto, Streetz Calling, Astronaut Status, and a variety of guest verses, some of which I shamefully had to Shazam, having not listened to any Young Jeezy since The Recession.

Photo by Adam Katzman

But Jeezy's "Way Too Gone" provided a sobering highlight, with Future shouting out the "dearly gone and never forgotten," a running theme of the night, remembering the ones who didn't make it to 2013, as those who came with friends hugged each other, thanks to be alive for the new year.

In direct contrast to "My Hoe 2," to which one girl gleefully rapped every lyric, Future closed on a sweeter note with his verse from Rihanna's "Loveee Song," doing the most sincere thing he could've by taking off his shades for the only time that night, waving goodbye while asking for "love and affection," a decent goal for the new year.

Of course, Future didn't leave immediately, jumping on what was the umpteenth rendition of "Good Kush and Alcohol (My Bitches Love Me)." Because, like I said, multitudes.

-- Adam Katzman

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Location Info



1445 Washington Ave., Miami Beach, FL

Category: Music

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