Iggy Pop & The Stooges: Raw Chaos at Art Basel (Video)

Michelle and I got to the beach early on December 5 and locked down a spot right in the front row, close enough to feel the crowd’s restless buzz before the band even appeared. When Iggy Pop and The Stooges stepped out—Ron Asheton on guitar, Scott Asheton on drums, Steve MacKay on sax, and Mike Watt on bass—the place detonated. These guys weren’t coasting on nostalgia; they were relentless, tearing through an hour-plus set of classics: “Loose,” “Down on the Street,” “1969,” “I Wanna Be Your Dog,” “TV Eye,” “Dirt,” “Real Cool Time,” “No Fun,” “1970,” “Fun House,” “Skull Ring,” “Little Electric Chair,” “My Idea of Fun,” and closing with another vicious “I Wanna Be Your Dog.”

Iggy looked strong, tan, shirtless, pouring water over his head and stalking the stage like he still owned every square inch of it. He leaned into the mic and preached that his idea of fun was “killing everyone,” then ignited a real mosh pit with MacKay’s saxophone ripping through the humid night air. The energy kept building until Iggy invited the audience to join The Stooges on stage—and hundreds rushed up. What had been a concert instantly became absolute bedlam: fans everywhere, security scrambling (they even shoved press out of the front), Mike Watt writhing on the floor with his bass in the middle of the chaos. It was pure, unfiltered mayhem on the sand.

Michelle stayed right there with me through every second, snapping great still photos while we absorbed the intensity. The shaky video footage captures it perfectly—raw, unsteady, exactly what a punk show should be. In a city usually ruled by reggaeton and club beats, punk felt undeniably alive that night. We walked away buzzing, still wired from one of the most electric shows we’ve ever experienced.

This was the first year Art Basel came to Miami Beach, and back then the whole event carried a much different vibe—far less corporate, far more punk rock. It felt chaotic and alive, blending high art with street-level rebellion. One of the standout pieces was “Concrete Waves: Homage to Skate Culture,” where Tony Alva and other skaters shredded a 70-foot mini ramp at an oceanfront hotel, surrounded by graffiti walls, head-banging music, and a two-story DJ booth. That raw, outsider energy spilled over into the Iggy show and made the entire week feel like a genuine collision of subcultures.

Editor’s Note: Originally published December 14, 2007. Updated in 2026.