Last weekend, Regatta Harbour in Coconut Grove served as the backdrop for the 2026 edition of the Montreux Jazz Festival Miami. Set against the salty breeze and attended by key figures of the local industry including the Estefan family, the evening offered a journey that ranged from organic rumba to highly symbolic, choreographed performances.
The night opened with Habanero percussionist Pedrito Martínez. Raised in the iconic Cayo Hueso neighborhood of Havana, Martínez brought a trajectory that has taken him from Cuban solares to the prestigious stages of New York, where he has lived since the late 90s. His set was a masterclass in technical maturity, rooted in the “rumba de solar” tradition.
The highlights included vibrant renditions of tracks like “Habana City,” providing the canvas for Cimafunk to join in with his signature Afro-Cuban funk. A surprise appearance by Bill Murray who joined the microphone for a spontaneous vocal improvisation singing “love the one you’re with” marked the peak of the set’s organic energy. However, the finale marked a geographical shift: the last song shed its island cadence for a purely New York sound—a tight, urban ensemble reflecting his decades of evolution in the Big Apple.
Venezuelan artist Elena Rose introduced a starkly visual aesthetic, with both her and her band dressed entirely in white. Rose used the stage to reflect on her journey, primarily referencing her times in Hialeah to allude to the fact that she started from “the bottom.” It was a moment of grounded humility as she admitted to feeling “small among giants” while the hangar was illuminated in the colors of the Venezuelan flag during “Caracas en el 2000.”
The performance featured a powerful segment with Emily Estefan on drums during “Naguará.” For the remainder of the set, the artist developed a narrative based on her personality split—the transition between Andrea and Elena. This psychological framework likely came as a surprise to those who hadn’t experienced that specific narrative before, adding an unexpected layer of density to the performance. While this soul-searching approach is a core point of connection for her dedicated fanbase, for others, the atmosphere became a moment of deep vulnerability for some.
The closing set by Bomba Estéreo pushed the performance into ritualistic territory. Lead singer Li Saumet opened the set by declaring: “This is a ritual,” periodically lit candles, adding a recurring liturgical layer to the stage.
With the ambient sounds of “Pájaros” the stage was bisected by a neon green laser structure that created the effect of a cage. The spiritual symbolism intensified during “Somos Dos,” which concluded with a dance accompanied by a trumpet whose sharp phrasing evoked the sounds of a Santería ceremony. More than a performance, Li Saumet’s stage presence is a modern pagamento—a sacred offering rooted in the lineage of Totó La Momposina. By dancing with candles, Li embodies “La Candela Viva” (The Living Flame), the ancestral fire that Totó famously kept alive for decades.
The set begins with the quiet introspection of a Ritual de Florecimiento, using the candle’s light to cleanse the space and open an energetic portal. This ritualistic stillness eventually erupts into the catharsis of “Fuego,” where the tradition of the Caribbean meets the mysticism of the Amazon. It is a transformation of the stage into a primal jungle cumbia circle, proving that the flame of the ancestors never truly goes out; it just finds new ways to burn. The show ended with the opening of the VIP area to the general public, allowing everyone to be part of the same group, even for a glimpse.
Beyond the technical display and the ethical questions regarding the stage-as-ritual, there is an undeniable magic to the festival’s format. The openness of the Regatta Harbour stage creates an environment that feels niche, up-close, and almost personal. To see a legend like Bill Murray jump on a mic or to be within arm’s reach of a master like Pedrito Martínez is the true privilege of Montreux Jazz Miami.
In a city of massive, impersonal arenas, this festival offers a rare intimacy, a chance to witness the artist’s process from a perspective that feels like an insider’s secret. The stage itself remains an open invitation. Miami deserves this kind of high-level, close-quarter connection, where the music is so near you can feel its heartbeat.
photo by Roy Lopez
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