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"title": "As Other Minds Festival Turns 30, an Experimental Music Giant Takes a Bow",
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"content": "\n\u003cp>What’s the state of \u003ca href=\"https://www.kqed.org/arts/tag/experimental-music\">experimental music\u003c/a> today?\u003c/p>\n\n\n\n\u003cp>“California,” composer Charles Amirkhanian says, laughing. “It’s happening here. Occasionally we’ll let in someone from New York — or Norway. But we don’t have any problems finding material.” \u003c/p>\n\n\n\n\u003cp>Amirkhanian has long mastered the art of creating a home for the avant-garde. \u003c/p>\n\n\n\n\u003cp>As the co-founder of Other Minds, a leading nonprofit and record label \u003ca href=\"https://www.kqed.org/arts/11353950/other-minds-archives-headed-for-uc-santa-cruz\">dedicated to noncommercial music\u003c/a>, and as the former music director of KPFA, he’s spent decades championing composers who push beyond conventional boundaries. He also has cultivated an audience willing to follow them there through \u003ca href=\"https://www.otherminds.org/other-minds-festival-30/\">Other Minds’ annual festival\u003c/a>, which brings freewheeling musicians and sound poets from around the world to San Francisco. \u003c/p>\n\n\n\n\n\n\u003cp>On Oct. 8–11 at the Brava Theater in the Mission District, the festival will celebrate its 30th anniversary. It’s also the 81-year-old Amirkhanian’s last year as executive and artistic director before he retires in January. \u003c/p>\n\n\n\n\u003cp>Musician and fellow composer Joseph Bohigian, currently Other Minds’ associate director, will take over as artistic director next year. A separate search for the organization’s next executive director is underway. \u003c/p>\n\n\n\n\u003cp>Bohigian says he’ll strive to lead the organization into a new chapter while continuing his predecessor’s ambitions. Much like his mentor, the young composer draws from a wellspring of ancient Armenian culture and the contemporary American experimental music to express something new. He’s also made it his mission to support other artists on their voyages, as Amirkhanian has done for decades. \u003c/p>\n\n\n\n\u003cp>“We’re trying to make sure that there’s a home for out-there music, the stuff that’s not commercially viable, but is exciting and experimental and pushes things forward,” Bohigian says. “We want to serve that small but dedicated audience.”\u003c/p>\n\n\n\n\u003cp>“And the composers who make the music,” Amirkhanian adds. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian and Associate Director Joseph Bohigian chat at their offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Two kindred spirits, born half a century apart\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>On a cloudy Thursday, Amirkhanian and Bohigian sit together in Other Minds’ downtown Berkeley office, surrounded by stacks of CDs and a bust of legendary 20th-century Bay Area new music composer Henry Cowell (“the godfather,” Amirkhanian says). Through the glass windows, cars and passersby screech and blare from below, making their own kind of experimental music. \u003c/p>\n\n\n\n\u003cp>It’s a fitting soundtrack for an organization whose mission is, in part, to listen differently. \u003c/p>\n\n\n\n\u003cp>Despite a nearly half-century age gap, Amirkhanian and Bohigian are kindred spirits. Both of them are percussionists, steeped in a tradition that includes iconoclastic musicians like Cowell, Lou Harrison and others. And both are Armenians from Fresno, the agricultural city in California’s heartland which is home to one of the oldest and most vibrant Armenian diasporas in the U.S. Both have drawn on their heritage in their work in forward-thinking ways. \u003c/p>\n\n\n\n\u003cp>The two first met in 2011 when Bohigian was a freshman at Fresno State University. Amirkhanian was doing a guest performance at the Fresno New Music Festival, and guest-lectured in one of Bohigian’s music classes. At the festival, the students performed an octet Amirkhanian had written as part of a career-long fascination with the noisiest percussion instrument: the ratchet. \u003c/p>\n\n\n\n\n\n\u003cp>“That kind of thing was really exciting,” Bohigian recalls. “This loud, asynchronous rhythm.”\u003c/p>\n\n\n\n\u003cp>Bohigian, who was born in 1993, the same year as the first Other Minds festival, began as a pianist before switching to percussion, a classic path into contemporary music.\u003c/p>\n\n\n\n\u003cp>“If you’re a percussionist, there’s not a lot of old repertoire,” he says. “You’re performing mostly 20th- and 21st-century music.”\u003c/p>\n\n\n\n\u003cp>Bohigian started composing in high school, initially writing pieces that imitated composers like Cowell, who devised a method for playing the piano from the inside, on the strings. Bohigian’s first piano piece, written for an AP music theory course, was titled “Song for Spaghetti Armed Steve.”\u003c/p>\n\n\n\n\u003cp>But his work gradually developed a deeper cultural focus. A piece \u003ca href=\"https://www.kqed.org/news/10467313/marking-the-armenian-genocide-anniversary-by-featuring-living-armenian-composers?mc_cid=3995258f14&mc_eid=e3b2e66c4b\">he composed during his senior year\u003c/a> of college to observe the 100th anniversary of the Armenian Genocide was performed in 2015 by Fresno State’s New Music Ensemble. Bohigian lived in Armenia from 2019–2020, where he conducted research, studied and taught a laptop orchestra class at the state conservatory in Yerevan. His compositions have been performed around the world. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Associate Director Joseph Bohigian holds a program for the Other Minds Festival at the organization’s offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Reviving the legacy of an Armenian auteur\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Bohigian’s latest work will premiere Thursday on the opening night of this year’s Other Minds festival. He will debut \u003cem>\u003ca href=\"https://www.otherminds.org/scenes-from-i-am-he-whose-life-and-soul-are-torment/\">I Am He Whose Life and Soul Are Torment\u003c/a>\u003c/em>, an evening-length multimedia performance inspired by the life of Soviet-Armenian auteur Sergei Parajanov.\u003c/p>\n\n\n\n\u003cp>Bohigian’s composition draws from Parajanov’s abstract 1969 film, \u003cem>The Color of Pomegranates\u003c/em>, about the 18th-century bard Sayat-Nova, who sang in Armenian, Georgian and Azeri — the languages of the region. The film was released four years before the director was jailed by the USSR for homosexuality and sentenced to hard labor. \u003c/p>\n\n\n\n\u003cp>The piece brings together Sayat-Nova’s folk music — performed by Bay Area wind instrumentalist and vocalist \u003ca href=\"https://www.kqed.org/news/12060906/meet-the-duduk-whisperer-a-bay-area-armenian-folk-musician-revives-centuries-of-soul\">Khatchadour Khatchadourian\u003c/a> — with the electronic music tradition that Bohigian is immersed in, to illustrate scenes from Parajanov’s life. \u003c/p>\n\n\n\n\u003cp>Bohigian describes the piece as theatrical, involving staged visual elements and costumes in addition to the electronics and vocals.\u003c/p>\n\n\n\n\n\n\u003cp>“We want to really make it immersive,” Bohigian says. \u003c/p>\n\n\n\n\u003cp>Some other festival weekend highlights include a live electronic performance from Philadelphia-born King Britt, delivering a set of sonic liberation compositions rooted in Black sound. And the festival will close Sunday with a performance by 79-year-old Charlemagne Palestine, who “plays only Bösendorfer pianos with extra keys on the bottom … so that the entire instrument resonates like perfume in the entire hall,” Amirkhanian says. \u003c/p>\n\n\n\n\u003cp>“I want people to understand that this is a rare opportunity to hear a composer who’s now probably at the end of his career and he’s coming here to do this monster hour-long performance,” he continues. “It’s going to be thrilling.”\u003c/p>\n\n\n\n\u003cp>On Sunday, Amirkhanian will also be performing a song he composed when he was 18: “Sonatina for Four Bass Drums, Op. 4.”\u003c/p>\n\n\n\n\u003cp>“I thought it’d be fun to dredge something up from the past,” he muses.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian at the organization’s offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Finding the ‘other minds\u003c/strong>’\u003c/h2>\n\n\n\n\u003cp>Amirkhanian also grew up in Fresno, in a household steeped in classical music.\u003c/p>\n\n\n\n\u003cp>His mother and her three sisters were all classical pianists. Because Fresno sits roughly halfway between San Francisco and Los Angeles, musicians traveling between the two cities would sometimes stop there, giving Amirkhanian opportunities to encounter performers and music that might otherwise have passed him by.\u003c/p>\n\n\n\n\u003cp>One day his father brought home a 78 rpm record with an Armenian rug pictured on the cover and two Armenian names: Alan Hovhaness and Maro Ajemian. Thinking it was an Armenian folk album, he bought it for the family. It turned out to be one of John Cage’s early commercial releases.\u003c/p>\n\n\n\n\u003cp>Cage’s approach to sound opened another world for Amirkhanian. He remembered a piano altered with screws, erasers and other objects inserted among its strings.\u003c/p>\n\n\n\n\u003cp>“My mother told him to take it back to the shop,” Amirkhanian recalls. “But the shop would not take it back.”\u003c/p>\n\n\n\n\u003cp>The record stayed, and set Amirkhanian on a lifelong path toward “all the sounds that you could incorporate into music.”\u003c/p>\n\n\n\n\u003cp>Cage, who died in 1992, also inspired the festival’s name, thanks to a dismissive \u003cem>New Yorker\u003c/em> obituary of the artist that says: “His epitaph might read that he composed music in other peoples’ minds.” \u003c/p>\n\n\n\n\n\n\u003cp>Amirkhanian and co-founder Jim Newman decided then that they \u003cem>were\u003c/em> the “other minds.”\u003c/p>\n\n\n\n\u003cp>The first Other Minds festival, in 1993, was a hit, featuring composers Philip Glass, Meredith Monk and Julia Wolfe.\u003c/p>\n\n\n\n\u003cp>“The composers … went out and told everybody, ‘Well, they don’t pay much money, but you better accept if you get an invitation to the Other Minds festival,’” Amirkhanian recalls. \u003c/p>\n\n\n\n\u003cp>Forced to choose a highlight of his 30-year tenure, Amirkhanian recalled \u003ca href=\"https://www.youtube.com/watch?v=I4rfukf_eqI\">\u003cem>Ice Field\u003c/em>\u003c/a>, a performance commissioned by Other Minds in 2001 and composed by Henry Brant. For $10,000, Brant put a jazz band on the balcony of Davies Symphony Hall in San Francisco and surrounded the audience with a wall of cacophonous sound. The piece won a Pulitzer Prize.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian (left) and Associate Director Joseph Bohigian chat at their offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Other Minds’ electronic futures\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Today, Other Minds’ Berkeley office houses an archive of roughly 4,000 audio tapes from the earliest days of KPFA. The record label releases music that might struggle to find a home elsewhere, particularly work that is too experimental or noncommercial for larger labels. The organization also has a \u003ca href=\"https://www.kalw.org/show/music-from-other-minds\">two-hour program on KALW\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Other Minds now also has a holiday in San Francisco. Mayor Daniel Lurie last week proclaimed Oct. 2, 2026 as Other Minds Day, in recognition of its 30th anniversary and the festival’s enduring contribution to San Francisco’s cultural life.\u003c/p>\n\n\n\n\u003cp>Both men are surprisingly optimistic about the future, even as \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">artificial intelligence\u003c/a> begins to reshape the way music is made and consumed. Amirkhanian notes that we’re already “surrounded by dangers: politically, culturally — and we’re going to get through it.”\u003c/p>\n\n\n\n\n\n\u003cp>Bohigian says AI has long been used by composers and musicians, predating the current discussions of rogue agents and other hazards. In grad school, he experimented with machine learning, training basic models to recognize certain sounds. \u003c/p>\n\n\n\n\u003cp>“We can find ways to use this, like any other new technology, to our advantage to make something new that we couldn’t have made without it,” Bohigian says.\u003c/p>\n\n\n\n\u003cp>Taking over the artistic future of Other Minds will require him to keep grappling with these questions. But the principles will be the same: give unusual music a place to exist, give its composers an audience and listen closely to discover what comes next.\u003c/p>\n\n\n\n\u003cp>“Because of the internet, you’re finding out about new people all the time. Every week I’m hearing about some composer that was not at all on my radar, making really interesting work,” Bohigian continues. “I can sometimes get a little bit in my head about what’s out there. And then I hear something new that’s exciting and I think, ‘Oh, we have a bright future.’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>\u003ca href=\"https://www.otherminds.org/other-minds-festival-30/\">Other Minds Festival\u003c/a> takes place Oct. 8–11 at Brava Theater in San Francisco. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>“California,” composer Charles Amirkhanian says, laughing. “It’s happening here. Occasionally we’ll let in someone from New York — or Norway. But we don’t have any problems finding material.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>As the co-founder of Other Minds, a leading nonprofit and record label \u003ca href=\"https://www.kqed.org/arts/11353950/other-minds-archives-headed-for-uc-santa-cruz\">dedicated to noncommercial music\u003c/a>, and as the former music director of KPFA, he’s spent decades championing composers who push beyond conventional boundaries. He also has cultivated an audience willing to follow them there through \u003ca href=\"https://www.otherminds.org/other-minds-festival-30/\">Other Minds’ annual festival\u003c/a>, which brings freewheeling musicians and sound poets from around the world to San Francisco. \u003c/p>\n",
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"innerHTML": "\n\u003cp>On Oct. 8–11 at the Brava Theater in the Mission District, the festival will celebrate its 30th anniversary. It’s also the 81-year-old Amirkhanian’s last year as executive and artistic director before he retires in January. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Musician and fellow composer Joseph Bohigian, currently Other Minds’ associate director, will take over as artistic director next year. A separate search for the organization’s next executive director is underway. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Bohigian says he’ll strive to lead the organization into a new chapter while continuing his predecessor’s ambitions. Much like his mentor, the young composer draws from a wellspring of ancient Armenian culture and the contemporary American experimental music to express something new. He’s also made it his mission to support other artists on their voyages, as Amirkhanian has done for decades. \u003c/p>\n",
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"\n\u003cp>Bohigian says he’ll strive to lead the organization into a new chapter while continuing his predecessor’s ambitions. Much like his mentor, the young composer draws from a wellspring of ancient Armenian culture and the contemporary American experimental music to express something new. He’s also made it his mission to support other artists on their voyages, as Amirkhanian has done for decades. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“And the composers who make the music,” Amirkhanian adds. \u003c/p>\n",
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"innerHTML": "\n\u003cp>On a cloudy Thursday, Amirkhanian and Bohigian sit together in Other Minds’ downtown Berkeley office, surrounded by stacks of CDs and a bust of legendary 20th-century Bay Area new music composer Henry Cowell (“the godfather,” Amirkhanian says). Through the glass windows, cars and passersby screech and blare from below, making their own kind of experimental music. \u003c/p>\n",
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"\n\u003cp>On a cloudy Thursday, Amirkhanian and Bohigian sit together in Other Minds’ downtown Berkeley office, surrounded by stacks of CDs and a bust of legendary 20th-century Bay Area new music composer Henry Cowell (“the godfather,” Amirkhanian says). Through the glass windows, cars and passersby screech and blare from below, making their own kind of experimental music. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Despite a nearly half-century age gap, Amirkhanian and Bohigian are kindred spirits. Both of them are percussionists, steeped in a tradition that includes iconoclastic musicians like Cowell, Lou Harrison and others. And both are Armenians from Fresno, the agricultural city in California’s heartland which is home to one of the oldest and most vibrant Armenian diasporas in the U.S. Both have drawn on their heritage in their work in forward-thinking ways. \u003c/p>\n",
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"\n\u003cp>Despite a nearly half-century age gap, Amirkhanian and Bohigian are kindred spirits. Both of them are percussionists, steeped in a tradition that includes iconoclastic musicians like Cowell, Lou Harrison and others. And both are Armenians from Fresno, the agricultural city in California’s heartland which is home to one of the oldest and most vibrant Armenian diasporas in the U.S. Both have drawn on their heritage in their work in forward-thinking ways. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The two first met in 2011 when Bohigian was a freshman at Fresno State University. Amirkhanian was doing a guest performance at the Fresno New Music Festival, and guest-lectured in one of Bohigian’s music classes. At the festival, the students performed an octet Amirkhanian had written as part of a career-long fascination with the noisiest percussion instrument: the ratchet. \u003c/p>\n",
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"\n\u003cp>The two first met in 2011 when Bohigian was a freshman at Fresno State University. Amirkhanian was doing a guest performance at the Fresno New Music Festival, and guest-lectured in one of Bohigian’s music classes. At the festival, the students performed an octet Amirkhanian had written as part of a career-long fascination with the noisiest percussion instrument: the ratchet. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Bohigian, who was born in 1993, the same year as the first Other Minds festival, began as a pianist before switching to percussion, a classic path into contemporary music.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bohigian started composing in high school, initially writing pieces that imitated composers like Cowell, who devised a method for playing the piano from the inside, on the strings. Bohigian’s first piano piece, written for an AP music theory course, was titled “Song for Spaghetti Armed Steve.”\u003c/p>\n",
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"\n\u003cp>Bohigian started composing in high school, initially writing pieces that imitated composers like Cowell, who devised a method for playing the piano from the inside, on the strings. Bohigian’s first piano piece, written for an AP music theory course, was titled “Song for Spaghetti Armed Steve.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>But his work gradually developed a deeper cultural focus. A piece \u003ca href=\"https://www.kqed.org/news/10467313/marking-the-armenian-genocide-anniversary-by-featuring-living-armenian-composers?mc_cid=3995258f14&mc_eid=e3b2e66c4b\">he composed during his senior year\u003c/a> of college to observe the 100th anniversary of the Armenian Genocide was performed in 2015 by Fresno State’s New Music Ensemble. Bohigian lived in Armenia from 2019–2020, where he conducted research, studied and taught a laptop orchestra class at the state conservatory in Yerevan. His compositions have been performed around the world. \u003c/p>\n",
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"\n\u003cp>But his work gradually developed a deeper cultural focus. A piece \u003ca href=\"https://www.kqed.org/news/10467313/marking-the-armenian-genocide-anniversary-by-featuring-living-armenian-composers?mc_cid=3995258f14&mc_eid=e3b2e66c4b\">he composed during his senior year\u003c/a> of college to observe the 100th anniversary of the Armenian Genocide was performed in 2015 by Fresno State’s New Music Ensemble. Bohigian lived in Armenia from 2019–2020, where he conducted research, studied and taught a laptop orchestra class at the state conservatory in Yerevan. His compositions have been performed around the world. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Bohigian’s latest work will premiere Thursday on the opening night of this year’s Other Minds festival. He will debut \u003cem>\u003ca href=\"https://www.otherminds.org/scenes-from-i-am-he-whose-life-and-soul-are-torment/\">I Am He Whose Life and Soul Are Torment\u003c/a>\u003c/em>, an evening-length multimedia performance inspired by the life of Soviet-Armenian auteur Sergei Parajanov.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bohigian’s composition draws from Parajanov’s abstract 1969 film, \u003cem>The Color of Pomegranates\u003c/em>, about the 18th-century bard Sayat-Nova, who sang in Armenian, Georgian and Azeri — the languages of the region. The film was released four years before the director was jailed by the USSR for homosexuality and sentenced to hard labor. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The piece brings together Sayat-Nova’s folk music — performed by Bay Area wind instrumentalist and vocalist \u003ca href=\"https://www.kqed.org/news/12060906/meet-the-duduk-whisperer-a-bay-area-armenian-folk-musician-revives-centuries-of-soul\">Khatchadour Khatchadourian\u003c/a> — with the electronic music tradition that Bohigian is immersed in, to illustrate scenes from Parajanov’s life. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“We want to really make it immersive,” Bohigian says. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Some other festival weekend highlights include a live electronic performance from Philadelphia-born King Britt, delivering a set of sonic liberation compositions rooted in Black sound. And the festival will close Sunday with a performance by 79-year-old Charlemagne Palestine, who “plays only Bösendorfer pianos with extra keys on the bottom … so that the entire instrument resonates like perfume in the entire hall,” Amirkhanian says. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“I want people to understand that this is a rare opportunity to hear a composer who’s now probably at the end of his career and he’s coming here to do this monster hour-long performance,” he continues. “It’s going to be thrilling.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>On Sunday, Amirkhanian will also be performing a song he composed when he was 18: “Sonatina for Four Bass Drums, Op. 4.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian at the organization’s offices in the David Brower Center in Berkeley on Sept. 17, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Amirkhanian also grew up in Fresno, in a household steeped in classical music.\u003c/p>\n",
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"innerHTML": "\n\u003cp>One day his father brought home a 78 rpm record with an Armenian rug pictured on the cover and two Armenian names: Alan Hovhaness and Maro Ajemian. Thinking it was an Armenian folk album, he bought it for the family. It turned out to be one of John Cage’s early commercial releases.\u003c/p>\n",
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"\n\u003cp>One day his father brought home a 78 rpm record with an Armenian rug pictured on the cover and two Armenian names: Alan Hovhaness and Maro Ajemian. Thinking it was an Armenian folk album, he bought it for the family. It turned out to be one of John Cage’s early commercial releases.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Cage’s approach to sound opened another world for Amirkhanian. He remembered a piano altered with screws, erasers and other objects inserted among its strings.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“My mother told him to take it back to the shop,” Amirkhanian recalls. “But the shop would not take it back.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Cage, who died in 1992, also inspired the festival’s name, thanks to a dismissive \u003cem>New Yorker\u003c/em> obituary of the artist that says: “His epitaph might read that he composed music in other peoples’ minds.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Amirkhanian and co-founder Jim Newman decided then that they \u003cem>were\u003c/em> the “other minds.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The first Other Minds festival, in 1993, was a hit, featuring composers Philip Glass, Meredith Monk and Julia Wolfe.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The composers … went out and told everybody, ‘Well, they don’t pay much money, but you better accept if you get an invitation to the Other Minds festival,’” Amirkhanian recalls. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Forced to choose a highlight of his 30-year tenure, Amirkhanian recalled \u003ca href=\"https://www.youtube.com/watch?v=I4rfukf_eqI\">\u003cem>Ice Field\u003c/em>\u003c/a>, a performance commissioned by Other Minds in 2001 and composed by Henry Brant. For $10,000, Brant put a jazz band on the balcony of Davies Symphony Hall in San Francisco and surrounded the audience with a wall of cacophonous sound. The piece won a Pulitzer Prize.\u003c/p>\n",
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"\n\u003cp>Forced to choose a highlight of his 30-year tenure, Amirkhanian recalled \u003ca href=\"https://www.youtube.com/watch?v=I4rfukf_eqI\">\u003cem>Ice Field\u003c/em>\u003c/a>, a performance commissioned by Other Minds in 2001 and composed by Henry Brant. For $10,000, Brant put a jazz band on the balcony of Davies Symphony Hall in San Francisco and surrounded the audience with a wall of cacophonous sound. The piece won a Pulitzer Prize.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian (left) and Associate Director Joseph Bohigian chat at their offices in the David Brower Center in Berkeley on Sept. 17, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Today, Other Minds’ Berkeley office houses an archive of roughly 4,000 audio tapes from the earliest days of KPFA. The record label releases music that might struggle to find a home elsewhere, particularly work that is too experimental or noncommercial for larger labels. The organization also has a \u003ca href=\"https://www.kalw.org/show/music-from-other-minds\">two-hour program on KALW\u003c/a>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Other Minds now also has a holiday in San Francisco. Mayor Daniel Lurie last week proclaimed Oct. 2, 2026 as Other Minds Day, in recognition of its 30th anniversary and the festival’s enduring contribution to San Francisco’s cultural life.\u003c/p>\n",
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"\n\u003cp>Other Minds now also has a holiday in San Francisco. Mayor Daniel Lurie last week proclaimed Oct. 2, 2026 as Other Minds Day, in recognition of its 30th anniversary and the festival’s enduring contribution to San Francisco’s cultural life.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Both men are surprisingly optimistic about the future, even as \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">artificial intelligence\u003c/a> begins to reshape the way music is made and consumed. Amirkhanian notes that we’re already “surrounded by dangers: politically, culturally — and we’re going to get through it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bohigian says AI has long been used by composers and musicians, predating the current discussions of rogue agents and other hazards. In grad school, he experimented with machine learning, training basic models to recognize certain sounds. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“We can find ways to use this, like any other new technology, to our advantage to make something new that we couldn’t have made without it,” Bohigian says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Taking over the artistic future of Other Minds will require him to keep grappling with these questions. But the principles will be the same: give unusual music a place to exist, give its composers an audience and listen closely to discover what comes next.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>\u003ca href=\"https://www.otherminds.org/other-minds-festival-30/\">Other Minds Festival\u003c/a> takes place Oct. 8–11 at Brava Theater in San Francisco. \u003c/em>\u003c/p>\n",
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"excerpt": "Charles Amirkhanian reflects on his legacy in avant-garde music — and his festival and record label’s next era. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What’s the state of \u003ca href=\"https://www.kqed.org/arts/tag/experimental-music\">experimental music\u003c/a> today?\u003c/p>\n\n\n\n\u003cp>“California,” composer Charles Amirkhanian says, laughing. “It’s happening here. Occasionally we’ll let in someone from New York — or Norway. But we don’t have any problems finding material.” \u003c/p>\n\n\n\n\u003cp>Amirkhanian has long mastered the art of creating a home for the avant-garde. \u003c/p>\n\n\n\n\u003cp>As the co-founder of Other Minds, a leading nonprofit and record label \u003ca href=\"https://www.kqed.org/arts/11353950/other-minds-archives-headed-for-uc-santa-cruz\">dedicated to noncommercial music\u003c/a>, and as the former music director of KPFA, he’s spent decades championing composers who push beyond conventional boundaries. He also has cultivated an audience willing to follow them there through \u003ca href=\"https://www.otherminds.org/other-minds-festival-30/\">Other Minds’ annual festival\u003c/a>, which brings freewheeling musicians and sound poets from around the world to San Francisco. \u003c/p>\n\n\n\n\n\n\u003cp>On Oct. 8–11 at the Brava Theater in the Mission District, the festival will celebrate its 30th anniversary. It’s also the 81-year-old Amirkhanian’s last year as executive and artistic director before he retires in January. \u003c/p>\n\n\n\n\u003cp>Musician and fellow composer Joseph Bohigian, currently Other Minds’ associate director, will take over as artistic director next year. A separate search for the organization’s next executive director is underway. \u003c/p>\n\n\n\n\u003cp>Bohigian says he’ll strive to lead the organization into a new chapter while continuing his predecessor’s ambitions. Much like his mentor, the young composer draws from a wellspring of ancient Armenian culture and the contemporary American experimental music to express something new. He’s also made it his mission to support other artists on their voyages, as Amirkhanian has done for decades. \u003c/p>\n\n\n\n\u003cp>“We’re trying to make sure that there’s a home for out-there music, the stuff that’s not commercially viable, but is exciting and experimental and pushes things forward,” Bohigian says. “We want to serve that small but dedicated audience.”\u003c/p>\n\n\n\n\u003cp>“And the composers who make the music,” Amirkhanian adds. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian and Associate Director Joseph Bohigian chat at their offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Two kindred spirits, born half a century apart\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>On a cloudy Thursday, Amirkhanian and Bohigian sit together in Other Minds’ downtown Berkeley office, surrounded by stacks of CDs and a bust of legendary 20th-century Bay Area new music composer Henry Cowell (“the godfather,” Amirkhanian says). Through the glass windows, cars and passersby screech and blare from below, making their own kind of experimental music. \u003c/p>\n\n\n\n\u003cp>It’s a fitting soundtrack for an organization whose mission is, in part, to listen differently. \u003c/p>\n\n\n\n\u003cp>Despite a nearly half-century age gap, Amirkhanian and Bohigian are kindred spirits. Both of them are percussionists, steeped in a tradition that includes iconoclastic musicians like Cowell, Lou Harrison and others. And both are Armenians from Fresno, the agricultural city in California’s heartland which is home to one of the oldest and most vibrant Armenian diasporas in the U.S. Both have drawn on their heritage in their work in forward-thinking ways. \u003c/p>\n\n\n\n\u003cp>The two first met in 2011 when Bohigian was a freshman at Fresno State University. Amirkhanian was doing a guest performance at the Fresno New Music Festival, and guest-lectured in one of Bohigian’s music classes. At the festival, the students performed an octet Amirkhanian had written as part of a career-long fascination with the noisiest percussion instrument: the ratchet. \u003c/p>\n\n\n\n\n\n\u003cp>“That kind of thing was really exciting,” Bohigian recalls. “This loud, asynchronous rhythm.”\u003c/p>\n\n\n\n\u003cp>Bohigian, who was born in 1993, the same year as the first Other Minds festival, began as a pianist before switching to percussion, a classic path into contemporary music.\u003c/p>\n\n\n\n\u003cp>“If you’re a percussionist, there’s not a lot of old repertoire,” he says. “You’re performing mostly 20th- and 21st-century music.”\u003c/p>\n\n\n\n\u003cp>Bohigian started composing in high school, initially writing pieces that imitated composers like Cowell, who devised a method for playing the piano from the inside, on the strings. Bohigian’s first piano piece, written for an AP music theory course, was titled “Song for Spaghetti Armed Steve.”\u003c/p>\n\n\n\n\u003cp>But his work gradually developed a deeper cultural focus. A piece \u003ca href=\"https://www.kqed.org/news/10467313/marking-the-armenian-genocide-anniversary-by-featuring-living-armenian-composers?mc_cid=3995258f14&mc_eid=e3b2e66c4b\">he composed during his senior year\u003c/a> of college to observe the 100th anniversary of the Armenian Genocide was performed in 2015 by Fresno State’s New Music Ensemble. Bohigian lived in Armenia from 2019–2020, where he conducted research, studied and taught a laptop orchestra class at the state conservatory in Yerevan. His compositions have been performed around the world. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-05-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Associate Director Joseph Bohigian holds a program for the Other Minds Festival at the organization’s offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Reviving the legacy of an Armenian auteur\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Bohigian’s latest work will premiere Thursday on the opening night of this year’s Other Minds festival. He will debut \u003cem>\u003ca href=\"https://www.otherminds.org/scenes-from-i-am-he-whose-life-and-soul-are-torment/\">I Am He Whose Life and Soul Are Torment\u003c/a>\u003c/em>, an evening-length multimedia performance inspired by the life of Soviet-Armenian auteur Sergei Parajanov.\u003c/p>\n\n\n\n\u003cp>Bohigian’s composition draws from Parajanov’s abstract 1969 film, \u003cem>The Color of Pomegranates\u003c/em>, about the 18th-century bard Sayat-Nova, who sang in Armenian, Georgian and Azeri — the languages of the region. The film was released four years before the director was jailed by the USSR for homosexuality and sentenced to hard labor. \u003c/p>\n\n\n\n\u003cp>The piece brings together Sayat-Nova’s folk music — performed by Bay Area wind instrumentalist and vocalist \u003ca href=\"https://www.kqed.org/news/12060906/meet-the-duduk-whisperer-a-bay-area-armenian-folk-musician-revives-centuries-of-soul\">Khatchadour Khatchadourian\u003c/a> — with the electronic music tradition that Bohigian is immersed in, to illustrate scenes from Parajanov’s life. \u003c/p>\n\n\n\n\u003cp>Bohigian describes the piece as theatrical, involving staged visual elements and costumes in addition to the electronics and vocals.\u003c/p>\n\n\n\n\n\n\u003cp>“We want to really make it immersive,” Bohigian says. \u003c/p>\n\n\n\n\u003cp>Some other festival weekend highlights include a live electronic performance from Philadelphia-born King Britt, delivering a set of sonic liberation compositions rooted in Black sound. And the festival will close Sunday with a performance by 79-year-old Charlemagne Palestine, who “plays only Bösendorfer pianos with extra keys on the bottom … so that the entire instrument resonates like perfume in the entire hall,” Amirkhanian says. \u003c/p>\n\n\n\n\u003cp>“I want people to understand that this is a rare opportunity to hear a composer who’s now probably at the end of his career and he’s coming here to do this monster hour-long performance,” he continues. “It’s going to be thrilling.”\u003c/p>\n\n\n\n\u003cp>On Sunday, Amirkhanian will also be performing a song he composed when he was 18: “Sonatina for Four Bass Drums, Op. 4.”\u003c/p>\n\n\n\n\u003cp>“I thought it’d be fun to dredge something up from the past,” he muses.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-08-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian at the organization’s offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Finding the ‘other minds\u003c/strong>’\u003c/h2>\n\n\n\n\u003cp>Amirkhanian also grew up in Fresno, in a household steeped in classical music.\u003c/p>\n\n\n\n\u003cp>His mother and her three sisters were all classical pianists. Because Fresno sits roughly halfway between San Francisco and Los Angeles, musicians traveling between the two cities would sometimes stop there, giving Amirkhanian opportunities to encounter performers and music that might otherwise have passed him by.\u003c/p>\n\n\n\n\u003cp>One day his father brought home a 78 rpm record with an Armenian rug pictured on the cover and two Armenian names: Alan Hovhaness and Maro Ajemian. Thinking it was an Armenian folk album, he bought it for the family. It turned out to be one of John Cage’s early commercial releases.\u003c/p>\n\n\n\n\u003cp>Cage’s approach to sound opened another world for Amirkhanian. He remembered a piano altered with screws, erasers and other objects inserted among its strings.\u003c/p>\n\n\n\n\u003cp>“My mother told him to take it back to the shop,” Amirkhanian recalls. “But the shop would not take it back.”\u003c/p>\n\n\n\n\u003cp>The record stayed, and set Amirkhanian on a lifelong path toward “all the sounds that you could incorporate into music.”\u003c/p>\n\n\n\n\u003cp>Cage, who died in 1992, also inspired the festival’s name, thanks to a dismissive \u003cem>New Yorker\u003c/em> obituary of the artist that says: “His epitaph might read that he composed music in other peoples’ minds.” \u003c/p>\n\n\n\n\n\n\u003cp>Amirkhanian and co-founder Jim Newman decided then that they \u003cem>were\u003c/em> the “other minds.”\u003c/p>\n\n\n\n\u003cp>The first Other Minds festival, in 1993, was a hit, featuring composers Philip Glass, Meredith Monk and Julia Wolfe.\u003c/p>\n\n\n\n\u003cp>“The composers … went out and told everybody, ‘Well, they don’t pay much money, but you better accept if you get an invitation to the Other Minds festival,’” Amirkhanian recalls. \u003c/p>\n\n\n\n\u003cp>Forced to choose a highlight of his 30-year tenure, Amirkhanian recalled \u003ca href=\"https://www.youtube.com/watch?v=I4rfukf_eqI\">\u003cem>Ice Field\u003c/em>\u003c/a>, a performance commissioned by Other Minds in 2001 and composed by Henry Brant. For $10,000, Brant put a jazz band on the balcony of Davies Symphony Hall in San Francisco and surrounded the audience with a wall of cacophonous sound. The piece won a Pulitzer Prize.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13994062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260917-OtherMinds-03-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Other Minds Executive and Artistic Director Charles Amirkhanian (left) and Associate Director Joseph Bohigian chat at their offices in the David Brower Center in Berkeley on Sept. 17, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Other Minds’ electronic futures\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Today, Other Minds’ Berkeley office houses an archive of roughly 4,000 audio tapes from the earliest days of KPFA. The record label releases music that might struggle to find a home elsewhere, particularly work that is too experimental or noncommercial for larger labels. The organization also has a \u003ca href=\"https://www.kalw.org/show/music-from-other-minds\">two-hour program on KALW\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Other Minds now also has a holiday in San Francisco. Mayor Daniel Lurie last week proclaimed Oct. 2, 2026 as Other Minds Day, in recognition of its 30th anniversary and the festival’s enduring contribution to San Francisco’s cultural life.\u003c/p>\n\n\n\n\u003cp>Both men are surprisingly optimistic about the future, even as \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">artificial intelligence\u003c/a> begins to reshape the way music is made and consumed. Amirkhanian notes that we’re already “surrounded by dangers: politically, culturally — and we’re going to get through it.”\u003c/p>\n\n\n\n\n\n\u003cp>Bohigian says AI has long been used by composers and musicians, predating the current discussions of rogue agents and other hazards. In grad school, he experimented with machine learning, training basic models to recognize certain sounds. \u003c/p>\n\n\n\n\u003cp>“We can find ways to use this, like any other new technology, to our advantage to make something new that we couldn’t have made without it,” Bohigian says.\u003c/p>\n\n\n\n\u003cp>Taking over the artistic future of Other Minds will require him to keep grappling with these questions. But the principles will be the same: give unusual music a place to exist, give its composers an audience and listen closely to discover what comes next.\u003c/p>\n\n\n\n\u003cp>“Because of the internet, you’re finding out about new people all the time. Every week I’m hearing about some composer that was not at all on my radar, making really interesting work,” Bohigian continues. “I can sometimes get a little bit in my head about what’s out there. And then I hear something new that’s exciting and I think, ‘Oh, we have a bright future.’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>\u003ca href=\"https://www.otherminds.org/other-minds-festival-30/\">Other Minds Festival\u003c/a> takes place Oct. 8–11 at Brava Theater in San Francisco. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "demahjiae-yae-album-empire-oakland",
"title": "Demahjiae Raps About the Love and Heartbreak of Calling Oakland Home",
"publishDate": 1790962245,
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"headTitle": "Demahjiae Raps About the Love and Heartbreak of Calling Oakland Home | KQED",
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"content": "\n\u003cp>“The transfer of power is never peaceful,” \u003ca href=\"https://www.instagram.com/demahjiae/?hl=en\">demahjiae\u003c/a> proclaims on “you’re not bigger than the program,” the third track on his latest album, \u003cem>YAE\u003c/em>. The simple, direct verse synthesizes the power struggles demahjiae grapples with throughout the project as he tries to define himself, and his hometown, on his own terms. \u003c/p>\n\n\n\n\u003cp>The Oakland rapper-producer has been releasing music for almost a decade, starting with his 2018 project \u003cem>Ghetto Blessings\u003c/em>. Since then, he’s earned praise for his skill and grit from \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-rap-songs-2025/\">Pitchfork\u003c/a> and \u003cem>\u003ca href=\"https://www.thefader.com/2022/11/15/the-rap-report-realyungphil-akai-solo-wiz-havinn\">The Fader\u003c/a>,\u003c/em> and signed with EMPIRE. \u003c/p>\n\n\n\n\n\n\u003cp>Even with his national recognition, demahjiae’s hard-to-categorize sound has made him somewhat of an outlier in the Bay Area scene. But he isn’t invested in proving himself — he’s focused on making music that speaks to him in all of his complexity.\u003c/p>\n\n\n\n\u003cp>Born and raised in East Oakland, demahjiae gravitated towards a more traditional East Coast hip-hop sound growing up — an attempt to differentiate himself from the hyphy style that’s defined the Bay since the 2000s. Still, on his way to school or at Lake Merritt, he couldn’t help but absorb the sounds of Too Short or D-Lo spilling out from speakers. That influence makes a full-circle return on \u003cem>YAE\u003c/em>, where he reckons with the belonging and disconnect that comes with calling Oakland home. \u003c/p>\n\n\n\n\u003cp>“Every city, especially every inner city, every ghetto, has its uglies,” demahjiae muses. “But somebody may deem something ugly when it is actually the most beautiful thing to somebody else.” \u003c/p>\n\n\n\n\u003cp>“One of my closest cousins has been incarcerated since I was in fifth grade, and I speak about him pretty often in my music,” he continues. “And my brother’s dad was murdered in 2005, 2004 in Oakland. I believe, shooting dice. So having that on my heart, all those feelings just kind of came out through the project.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://open.spotify.com/album/0uWWYLTrmTBwZHDYMrj8Kj\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>On \u003cem>YAE\u003c/em>, demahjiae’s wordplay melds together like colorful shards on a stained glass window: “Damn cousin / there’s way too many fish out here, you not / play this for your granny and sit closely / guarantee there’s no other words that are shared other than a soft whisper,” he raps. Each bar leaps into the next, leaving listeners leaning in to catch his unpredictable flow. demahjiae invites you to wander with him. \u003c/p>\n\n\n\n\u003cp>As hyphy-era classics like E-40’s “Tell Me When To Go” and Too Short’s “Blow the Whistle” reach their 20th anniversaries, fans and artists are having overdue conversations on the impact of race and power in hip-hop. While aspects of Black Bay Area culture have crossed over into the mainstream, the communities that created the music still bear the burden of systemic violence. Who gets criminalized for creating culture, and who gets to experience it at a distance, free of consequences?\u003c/p>\n\n\n\n\u003cp>demahjiae vulnerably expresses the weight of this contradiction on tracks like “THE WORLD IS YOURS!!!” “I connect that to the project through the pain we’ve all endured, knowing or knowing of somebody who’s lost somebody, or a cousin that went through something crazy on a night out, or somebody who lost their father,” he says. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13993470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Hip-hop artist and producer demahjiae in Oakland on Aug. 28, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>\u003cem>YAE\u003c/em> features two renowned Oakland rappers, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13986328/1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean\">ALLBLACK\u003c/a>, who also hail from the East. Both are known for their distinct flows and self-made paths, which they offer on “hardheaded” and “brotherly advice,” two anchors of the project. \u003c/p>\n\n\n\n\u003cp>1100 Himself and demahjiae are old collaborators who met through the music program at the Boys and Girls Club in Oakland, where demahjiae got his start as a young producer. The feature from ALLBLACK was more fated, a manifestation of the faith demahjiae raps about on “Wishlist I.” \u003c/p>\n\n\n\n\u003cp>The two of them crossed paths one day while making music at EMPIRE’s studio in San Francisco. demahjiae remembers feeling unsure of what to play for the local legend, hesitant that his soulful beats with string crescendos and dramatic turns wouldn’t resonate. To his surprise, ALLBLACK was juiced. Lending his raspy voice to embody “brotherly advice,” ALLBLACK finished his verse in less than 30 minutes. \u003c/p>\n\n\n\n\u003cp>“He’s really genuine,” demahjiae says. “He reminds me of a cousin of mine, you know?” \u003c/p>\n\n\n\n\u003cp>demahjiae wrote the bulk of \u003cem>YAE\u003c/em> while sitting on a wooden park bench facing the western corner of Lake Merritt. He points it out during our conversation. The sun starts to set and the buildings that frame downtown cast long shadows over the lake. Nearby, a group gathers, wearing black costumes and carrying flame throwers. All of them are white, and they don’t acknowledge either of us. As their group expands, and their music drowns out our conversation, we decide to relocate in the middle of our discussion about the impact of gentrification and displacement. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13993471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Hip-hop artist and producer demahjiae near Lake Merritt in Oakland on Aug. 28, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>The irony was not lost on demahjiae: “Do you see what I mean? Let me and my niggas pull up fifteen deep, wearing all black with flame throwers. What?! We’re going to jail.” \u003c/p>\n\n\n\n\u003cp>It’s a familiar sort of experience for many who grew up in Oakland. demahjiae recalls going to a view point to watch fireworks this past Fourth of July. The spot used to be empty, but that’s changed, too. Hundreds of people sat watching the culture from a distance. He overheard someone in a giddy tone say the fireworks sounded like gunshots. “No police ever harass them, or drive by, or flashlights, or anything,” demahjiae observes. \u003c/p>\n\n\n\n\u003cp>He couldn’t help but think about how different things were when he was growing up on 72nd and Lacey Avenues. “None of my family lives there anymore,” he laments. “They’re all kicked out. My whole family used to be outside on that block lighting fireworks for hours. Makes me hella sad.” \u003c/p>\n\n\n\n\u003cp>To counter that dynamic, demahjiae creates a sonic world that is strictly for the people who love and live in the context that shaped him. \u003cem>YAE \u003c/em>reflects that desire to be understood without having to translate yourself or your experience. “That’s what I remember Oakland being… People who also care and know your hurts, or have been through some of the same things that you have been through. I search for that.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The transfer of power is never peaceful,” \u003ca href=\"https://www.instagram.com/demahjiae/?hl=en\">demahjiae\u003c/a> proclaims on “you’re not bigger than the program,” the third track on his latest album, \u003cem>YAE\u003c/em>. The simple, direct verse synthesizes the power struggles demahjiae grapples with throughout the project as he tries to define himself, and his hometown, on his own terms. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The Oakland rapper-producer has been releasing music for almost a decade, starting with his 2018 project \u003cem>Ghetto Blessings\u003c/em>. Since then, he’s earned praise for his skill and grit from \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-rap-songs-2025/\">Pitchfork\u003c/a> and \u003cem>\u003ca href=\"https://www.thefader.com/2022/11/15/the-rap-report-realyungphil-akai-solo-wiz-havinn\">The Fader\u003c/a>,\u003c/em> and signed with EMPIRE. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Even with his national recognition, demahjiae’s hard-to-categorize sound has made him somewhat of an outlier in the Bay Area scene. But he isn’t invested in proving himself — he’s focused on making music that speaks to him in all of his complexity.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Born and raised in East Oakland, demahjiae gravitated towards a more traditional East Coast hip-hop sound growing up — an attempt to differentiate himself from the hyphy style that’s defined the Bay since the 2000s. Still, on his way to school or at Lake Merritt, he couldn’t help but absorb the sounds of Too Short or D-Lo spilling out from speakers. That influence makes a full-circle return on \u003cem>YAE\u003c/em>, where he reckons with the belonging and disconnect that comes with calling Oakland home. \u003c/p>\n",
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"\n\u003cp>Born and raised in East Oakland, demahjiae gravitated towards a more traditional East Coast hip-hop sound growing up — an attempt to differentiate himself from the hyphy style that’s defined the Bay since the 2000s. Still, on his way to school or at Lake Merritt, he couldn’t help but absorb the sounds of Too Short or D-Lo spilling out from speakers. That influence makes a full-circle return on \u003cem>YAE\u003c/em>, where he reckons with the belonging and disconnect that comes with calling Oakland home. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“Every city, especially every inner city, every ghetto, has its uglies,” demahjiae muses. “But somebody may deem something ugly when it is actually the most beautiful thing to somebody else.” \u003c/p>\n",
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"\n\u003cp>“Every city, especially every inner city, every ghetto, has its uglies,” demahjiae muses. “But somebody may deem something ugly when it is actually the most beautiful thing to somebody else.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>“One of my closest cousins has been incarcerated since I was in fifth grade, and I speak about him pretty often in my music,” he continues. “And my brother’s dad was murdered in 2005, 2004 in Oakland. I believe, shooting dice. So having that on my heart, all those feelings just kind of came out through the project.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>On \u003cem>YAE\u003c/em>, demahjiae’s wordplay melds together like colorful shards on a stained glass window: “Damn cousin / there’s way too many fish out here, you not / play this for your granny and sit closely / guarantee there’s no other words that are shared other than a soft whisper,” he raps. Each bar leaps into the next, leaving listeners leaning in to catch his unpredictable flow. demahjiae invites you to wander with him. \u003c/p>\n",
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"\n\u003cp>On \u003cem>YAE\u003c/em>, demahjiae’s wordplay melds together like colorful shards on a stained glass window: “Damn cousin / there’s way too many fish out here, you not / play this for your granny and sit closely / guarantee there’s no other words that are shared other than a soft whisper,” he raps. Each bar leaps into the next, leaving listeners leaning in to catch his unpredictable flow. demahjiae invites you to wander with him. \u003c/p>\n"
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"innerHTML": "\n\u003cp>As hyphy-era classics like E-40’s “Tell Me When To Go” and Too Short’s “Blow the Whistle” reach their 20th anniversaries, fans and artists are having overdue conversations on the impact of race and power in hip-hop. While aspects of Black Bay Area culture have crossed over into the mainstream, the communities that created the music still bear the burden of systemic violence. Who gets criminalized for creating culture, and who gets to experience it at a distance, free of consequences?\u003c/p>\n",
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"\n\u003cp>As hyphy-era classics like E-40’s “Tell Me When To Go” and Too Short’s “Blow the Whistle” reach their 20th anniversaries, fans and artists are having overdue conversations on the impact of race and power in hip-hop. While aspects of Black Bay Area culture have crossed over into the mainstream, the communities that created the music still bear the burden of systemic violence. Who gets criminalized for creating culture, and who gets to experience it at a distance, free of consequences?\u003c/p>\n"
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"innerHTML": "\n\u003cp>demahjiae vulnerably expresses the weight of this contradiction on tracks like “THE WORLD IS YOURS!!!” “I connect that to the project through the pain we’ve all endured, knowing or knowing of somebody who’s lost somebody, or a cousin that went through something crazy on a night out, or somebody who lost their father,” he says. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>YAE\u003c/em> features two renowned Oakland rappers, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13986328/1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean\">ALLBLACK\u003c/a>, who also hail from the East. Both are known for their distinct flows and self-made paths, which they offer on “hardheaded” and “brotherly advice,” two anchors of the project. \u003c/p>\n",
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"\n\u003cp>\u003cem>YAE\u003c/em> features two renowned Oakland rappers, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13986328/1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean\">ALLBLACK\u003c/a>, who also hail from the East. Both are known for their distinct flows and self-made paths, which they offer on “hardheaded” and “brotherly advice,” two anchors of the project. \u003c/p>\n"
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"innerHTML": "\n\u003cp>1100 Himself and demahjiae are old collaborators who met through the music program at the Boys and Girls Club in Oakland, where demahjiae got his start as a young producer. The feature from ALLBLACK was more fated, a manifestation of the faith demahjiae raps about on “Wishlist I.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>The two of them crossed paths one day while making music at EMPIRE’s studio in San Francisco. demahjiae remembers feeling unsure of what to play for the local legend, hesitant that his soulful beats with string crescendos and dramatic turns wouldn’t resonate. To his surprise, ALLBLACK was juiced. Lending his raspy voice to embody “brotherly advice,” ALLBLACK finished his verse in less than 30 minutes. \u003c/p>\n",
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"\n\u003cp>The two of them crossed paths one day while making music at EMPIRE’s studio in San Francisco. demahjiae remembers feeling unsure of what to play for the local legend, hesitant that his soulful beats with string crescendos and dramatic turns wouldn’t resonate. To his surprise, ALLBLACK was juiced. Lending his raspy voice to embody “brotherly advice,” ALLBLACK finished his verse in less than 30 minutes. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“He’s really genuine,” demahjiae says. “He reminds me of a cousin of mine, you know?” \u003c/p>\n",
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"innerHTML": "\n\u003cp>demahjiae wrote the bulk of \u003cem>YAE\u003c/em> while sitting on a wooden park bench facing the western corner of Lake Merritt. He points it out during our conversation. The sun starts to set and the buildings that frame downtown cast long shadows over the lake. Nearby, a group gathers, wearing black costumes and carrying flame throwers. All of them are white, and they don’t acknowledge either of us. As their group expands, and their music drowns out our conversation, we decide to relocate in the middle of our discussion about the impact of gentrification and displacement. \u003c/p>\n",
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"\n\u003cp>demahjiae wrote the bulk of \u003cem>YAE\u003c/em> while sitting on a wooden park bench facing the western corner of Lake Merritt. He points it out during our conversation. The sun starts to set and the buildings that frame downtown cast long shadows over the lake. Nearby, a group gathers, wearing black costumes and carrying flame throwers. All of them are white, and they don’t acknowledge either of us. As their group expands, and their music drowns out our conversation, we decide to relocate in the middle of our discussion about the impact of gentrification and displacement. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The irony was not lost on demahjiae: “Do you see what I mean? Let me and my niggas pull up fifteen deep, wearing all black with flame throwers. What?! We’re going to jail.” \u003c/p>\n",
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"\n\u003cp>The irony was not lost on demahjiae: “Do you see what I mean? Let me and my niggas pull up fifteen deep, wearing all black with flame throwers. What?! We’re going to jail.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s a familiar sort of experience for many who grew up in Oakland. demahjiae recalls going to a view point to watch fireworks this past Fourth of July. The spot used to be empty, but that’s changed, too. Hundreds of people sat watching the culture from a distance. He overheard someone in a giddy tone say the fireworks sounded like gunshots. “No police ever harass them, or drive by, or flashlights, or anything,” demahjiae observes. \u003c/p>\n",
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"\n\u003cp>It’s a familiar sort of experience for many who grew up in Oakland. demahjiae recalls going to a view point to watch fireworks this past Fourth of July. The spot used to be empty, but that’s changed, too. Hundreds of people sat watching the culture from a distance. He overheard someone in a giddy tone say the fireworks sounded like gunshots. “No police ever harass them, or drive by, or flashlights, or anything,” demahjiae observes. \u003c/p>\n"
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"innerHTML": "\n\u003cp>He couldn’t help but think about how different things were when he was growing up on 72nd and Lacey Avenues. “None of my family lives there anymore,” he laments. “They’re all kicked out. My whole family used to be outside on that block lighting fireworks for hours. Makes me hella sad.” \u003c/p>\n",
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"\n\u003cp>He couldn’t help but think about how different things were when he was growing up on 72nd and Lacey Avenues. “None of my family lives there anymore,” he laments. “They’re all kicked out. My whole family used to be outside on that block lighting fireworks for hours. Makes me hella sad.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>To counter that dynamic, demahjiae creates a sonic world that is strictly for the people who love and live in the context that shaped him. \u003cem>YAE \u003c/em>reflects that desire to be understood without having to translate yourself or your experience. “That’s what I remember Oakland being… People who also care and know your hurts, or have been through some of the same things that you have been through. I search for that.”\u003c/p>\n",
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"\n\u003cp>To counter that dynamic, demahjiae creates a sonic world that is strictly for the people who love and live in the context that shaped him. \u003cem>YAE \u003c/em>reflects that desire to be understood without having to translate yourself or your experience. “That’s what I remember Oakland being… People who also care and know your hurts, or have been through some of the same things that you have been through. I search for that.”\u003c/p>\n"
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"excerpt": "On his new album ‘YAE,’ the East Oakland lyricist grapples with belonging in the wake of gentrification.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“The transfer of power is never peaceful,” \u003ca href=\"https://www.instagram.com/demahjiae/?hl=en\">demahjiae\u003c/a> proclaims on “you’re not bigger than the program,” the third track on his latest album, \u003cem>YAE\u003c/em>. The simple, direct verse synthesizes the power struggles demahjiae grapples with throughout the project as he tries to define himself, and his hometown, on his own terms. \u003c/p>\n\n\n\n\u003cp>The Oakland rapper-producer has been releasing music for almost a decade, starting with his 2018 project \u003cem>Ghetto Blessings\u003c/em>. Since then, he’s earned praise for his skill and grit from \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-rap-songs-2025/\">Pitchfork\u003c/a> and \u003cem>\u003ca href=\"https://www.thefader.com/2022/11/15/the-rap-report-realyungphil-akai-solo-wiz-havinn\">The Fader\u003c/a>,\u003c/em> and signed with EMPIRE. \u003c/p>\n\n\n\n\n\n\u003cp>Even with his national recognition, demahjiae’s hard-to-categorize sound has made him somewhat of an outlier in the Bay Area scene. But he isn’t invested in proving himself — he’s focused on making music that speaks to him in all of his complexity.\u003c/p>\n\n\n\n\u003cp>Born and raised in East Oakland, demahjiae gravitated towards a more traditional East Coast hip-hop sound growing up — an attempt to differentiate himself from the hyphy style that’s defined the Bay since the 2000s. Still, on his way to school or at Lake Merritt, he couldn’t help but absorb the sounds of Too Short or D-Lo spilling out from speakers. That influence makes a full-circle return on \u003cem>YAE\u003c/em>, where he reckons with the belonging and disconnect that comes with calling Oakland home. \u003c/p>\n\n\n\n\u003cp>“Every city, especially every inner city, every ghetto, has its uglies,” demahjiae muses. “But somebody may deem something ugly when it is actually the most beautiful thing to somebody else.” \u003c/p>\n\n\n\n\u003cp>“One of my closest cousins has been incarcerated since I was in fifth grade, and I speak about him pretty often in my music,” he continues. “And my brother’s dad was murdered in 2005, 2004 in Oakland. I believe, shooting dice. So having that on my heart, all those feelings just kind of came out through the project.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://open.spotify.com/album/0uWWYLTrmTBwZHDYMrj8Kj\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>On \u003cem>YAE\u003c/em>, demahjiae’s wordplay melds together like colorful shards on a stained glass window: “Damn cousin / there’s way too many fish out here, you not / play this for your granny and sit closely / guarantee there’s no other words that are shared other than a soft whisper,” he raps. Each bar leaps into the next, leaving listeners leaning in to catch his unpredictable flow. demahjiae invites you to wander with him. \u003c/p>\n\n\n\n\u003cp>As hyphy-era classics like E-40’s “Tell Me When To Go” and Too Short’s “Blow the Whistle” reach their 20th anniversaries, fans and artists are having overdue conversations on the impact of race and power in hip-hop. While aspects of Black Bay Area culture have crossed over into the mainstream, the communities that created the music still bear the burden of systemic violence. Who gets criminalized for creating culture, and who gets to experience it at a distance, free of consequences?\u003c/p>\n\n\n\n\u003cp>demahjiae vulnerably expresses the weight of this contradiction on tracks like “THE WORLD IS YOURS!!!” “I connect that to the project through the pain we’ve all endured, knowing or knowing of somebody who’s lost somebody, or a cousin that went through something crazy on a night out, or somebody who lost their father,” he says. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13993470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-05-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Hip-hop artist and producer demahjiae in Oakland on Aug. 28, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>\u003cem>YAE\u003c/em> features two renowned Oakland rappers, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13986328/1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean\">ALLBLACK\u003c/a>, who also hail from the East. Both are known for their distinct flows and self-made paths, which they offer on “hardheaded” and “brotherly advice,” two anchors of the project. \u003c/p>\n\n\n\n\u003cp>1100 Himself and demahjiae are old collaborators who met through the music program at the Boys and Girls Club in Oakland, where demahjiae got his start as a young producer. The feature from ALLBLACK was more fated, a manifestation of the faith demahjiae raps about on “Wishlist I.” \u003c/p>\n\n\n\n\u003cp>The two of them crossed paths one day while making music at EMPIRE’s studio in San Francisco. demahjiae remembers feeling unsure of what to play for the local legend, hesitant that his soulful beats with string crescendos and dramatic turns wouldn’t resonate. To his surprise, ALLBLACK was juiced. Lending his raspy voice to embody “brotherly advice,” ALLBLACK finished his verse in less than 30 minutes. \u003c/p>\n\n\n\n\u003cp>“He’s really genuine,” demahjiae says. “He reminds me of a cousin of mine, you know?” \u003c/p>\n\n\n\n\u003cp>demahjiae wrote the bulk of \u003cem>YAE\u003c/em> while sitting on a wooden park bench facing the western corner of Lake Merritt. He points it out during our conversation. The sun starts to set and the buildings that frame downtown cast long shadows over the lake. Nearby, a group gathers, wearing black costumes and carrying flame throwers. All of them are white, and they don’t acknowledge either of us. As their group expands, and their music drowns out our conversation, we decide to relocate in the middle of our discussion about the impact of gentrification and displacement. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED.jpg\" alt=\"\" class=\"wp-image-13993471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260828-DemahjiaeProfile-09-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Hip-hop artist and producer demahjiae near Lake Merritt in Oakland on Aug. 28, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>The irony was not lost on demahjiae: “Do you see what I mean? Let me and my niggas pull up fifteen deep, wearing all black with flame throwers. What?! We’re going to jail.” \u003c/p>\n\n\n\n\u003cp>It’s a familiar sort of experience for many who grew up in Oakland. demahjiae recalls going to a view point to watch fireworks this past Fourth of July. The spot used to be empty, but that’s changed, too. Hundreds of people sat watching the culture from a distance. He overheard someone in a giddy tone say the fireworks sounded like gunshots. “No police ever harass them, or drive by, or flashlights, or anything,” demahjiae observes. \u003c/p>\n\n\n\n\u003cp>He couldn’t help but think about how different things were when he was growing up on 72nd and Lacey Avenues. “None of my family lives there anymore,” he laments. “They’re all kicked out. My whole family used to be outside on that block lighting fireworks for hours. Makes me hella sad.” \u003c/p>\n\n\n\n\u003cp>To counter that dynamic, demahjiae creates a sonic world that is strictly for the people who love and live in the context that shaped him. \u003cem>YAE \u003c/em>reflects that desire to be understood without having to translate yourself or your experience. “That’s what I remember Oakland being… People who also care and know your hurts, or have been through some of the same things that you have been through. I search for that.”\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "victoria-monet-frequency-of-love-album-review-interview",
"title": "Victoria Monét’s ‘Frequency of Love’ Aims to Strike the Optimal Sonic Vibration",
"publishDate": 1790884913,
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"headTitle": "Victoria Monét’s ‘Frequency of Love’ Aims to Strike the Optimal Sonic Vibration | KQED",
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"content": "\n\u003cp>Victoria Monét won’t take it personally if you call her upcoming album a comeback, even though it has only been a three-year break.\u003c/p>\n\n\n\n\u003cp>“It should be normal to take time to create your next album. I know we live in a world where we want everything fast,” the Sacramento-raised artist said in an interview with the Associated Press. For inspiration, she said she had to let life take its course.\u003c/p>\n\n\n\n\u003cp>“I’m OK with people asking for more music or feeling like, ‘Dang, I missed her.’ Or this is a comeback, because that makes me feel like there was a gap in time where they noticed that I was gone,” the artist said.\u003c/p>\n\n\n\n\u003cp>The “On My Mama” singer returns Friday with \u003cem>Frequency of Love\u003c/em>, a 22-track studio project that follows her \u003ca href=\"https://www.kqed.org/arts/13938043/bay-area-grammy-award-nominees-revealed-victoria-monet-metallica-and-more\">Grammy-winning\u003c/a> \u003cem>Jaguar II\u003c/em>, which she made in 2023.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=h99lQg2zSl0\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>The new album is powered by singles like the house-flavored “Reach Out,” yacht R&B-inspired “Juicy” and “Let Me,” which is a slow jam that already reached No. 1 on Billboard’s adult R&B airplay chart. Some of the new work features heavyweights Bruno Mars and SZA, as well as R&B hitmakers Bryson Tiller, Leon Thomas and Chlöe Bailey.\u003c/p>\n\n\n\n\u003cp>“I’m really, really, really passionate about love. … A lot of it was just reflective of what I was going through or feeling while dating,” said Monét, who originally considered creating a yacht-R&B album. “The album covers many bases, including love for my daughter, love for the world, what I want to see for it.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Monét aimed to channel Michael Jackson’s risk-taking artistry\u003c/h2>\n\n\n\n\u003cp>\u003cem>Frequency of Love\u003c/em>, executive produced by Camper, takes listeners on a sonic excursion beyond romance, with several interpolations of classic ’90s R&B songs skillfully peppered throughout.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"alignright size-full is-resized\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3.jpg\" alt=\"\" class=\"wp-image-13994417\" style=\"width:370px;height:auto\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The album cover for ‘Frequency of Love’ by Victoria Monét. (Lovett Music/RCA Records)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>“Almost,” which includes a reference to Brandy’s “Almost Doesn’t Count,” is a sensual take on feeling sexually unsatisfied, while “For You” reimagines Kenny Lattimore’s classic romantic ballad. “Care for Somebody (Interlude)” is Monét’s rendition of a song she first encountered as a child while watching Halle Berry in \u003cem>Introducing Dorothy Dandridge\u003c/em> with her grandmother.\u003c/p>\n\n\n\n\u003cp>Michael Jackson’s musical growth between \u003cem>Off the Wall\u003c/em> and \u003cem>Thriller\u003c/em> inspired Monét’s creative process. While she’s quick to halt any comparison to the commercial and critical acclaim of one of music’s most prolific artists, she aimed to channel the same risk-taking artistry.\u003c/p>\n\n\n\n\u003cp>“I did not make \u003cem>Thriller\u003c/em>,” Monét said. “I just made my version of what I would make with that mindset.”\u003c/p>\n\n\n\n\u003cp>The singer, 37, is keenly aware of heightened expectations. But she was slightly unprepared for some negativity that followed her 2024 Grammy wins for best new artist, best R&B album and best non-classical engineered album.\u003c/p>\n\n\n\n\u003cp>“I think there was a flip from me being an underdog that everyone wanted to support,” she said. “If I get millions of supporters, I can also have millions of haters. But who am I paying attention to? And that’s what the album for me is about.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=FI2zxG3DdOY\n\u003c/div>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Monét was in the recording studio — and in the kitchen\u003c/h2>\n\n\n\n\u003cp>Recently serving as a special guest on the European stretch of Bruno Mars’ The Romantic tour, Monét is gearing up for her own Frequency of Love dates, visiting 27 North American cities starting in late October.\u003c/p>\n\n\n\n\u003cp>After beginning her career penning songs for Ariana Grande, Blackpink, Chloe x Halle and Selena Gomez, Monét is still interested in writing collaborations and working with “unexpected” artists. She also dreams of writing scripted TV and film projects, including a comedy.\u003c/p>\n\n\n\n\u003cp>A creative at heart, Monét also recently graduated from the Institute of Culinary Education as its top student. During class, she’d listen to music associated with the country of the dish she was preparing. Often bringing meals to her production team during recording sessions, she says the vibes of the international music, and the camaraderie that food and fellowship can bring, would influence some of the sonic tones of her songs.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=Z_hsD-TZ_U4\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>So why would a performer at the height of her career become a chef?\u003c/p>\n\n\n\n\u003cp>“Maybe rebellion. … I want to do something that I don’t get paid for, that I’m not defined by,” said Monét. “You don’t have to make your schedule around only the things that clearly pay you. And you never know where it will take you.”\u003c/p>\n\n\n\n\u003cp>\u003cem>Frequency of Love\u003c/em> will largely dictate where her career is headed next. But Monét hopes to move with intention and a spirit of gratitude, which she’s prioritizing throughout her life.\u003c/p>\n\n\n\n\u003cp>“I went through a moment where I was critical of everything. I was looking around and seeing what could be better: criticizing myself, the workplace, the state of my mood, the state of music, state of voice, my body, just nitpicking everything,” she said. “And so, it’s really been a journey to come to a place where I can operate in that shift — that paradigm shift — that makes me OK with everything that is, and also OK with everything that is going to come.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Victoria Monét’s upcoming \u003ca href=\"https://www.victoriamonet.co/#tour\">Frequency of Love\u003c/a> tour will conclude with shows in Sacramento (Dec. 16) and San Francisco (Dec. 17). \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>“It should be normal to take time to create your next album. I know we live in a world where we want everything fast,” the Sacramento-raised artist said in an interview with the Associated Press. For inspiration, she said she had to let life take its course.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The new album is powered by singles like the house-flavored “Reach Out,” yacht R&B-inspired “Juicy” and “Let Me,” which is a slow jam that already reached No. 1 on Billboard’s adult R&B airplay chart. Some of the new work features heavyweights Bruno Mars and SZA, as well as R&B hitmakers Bryson Tiller, Leon Thomas and Chlöe Bailey.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I’m really, really, really passionate about love. … A lot of it was just reflective of what I was going through or feeling while dating,” said Monét, who originally considered creating a yacht-R&B album. “The album covers many bases, including love for my daughter, love for the world, what I want to see for it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Frequency of Love\u003c/em>, executive produced by Camper, takes listeners on a sonic excursion beyond romance, with several interpolations of classic ’90s R&B songs skillfully peppered throughout.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Recently serving as a special guest on the European stretch of Bruno Mars’ The Romantic tour, Monét is gearing up for her own Frequency of Love dates, visiting 27 North American cities starting in late October.\u003c/p>\n",
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"innerHTML": "\n\u003cp>A creative at heart, Monét also recently graduated from the Institute of Culinary Education as its top student. During class, she’d listen to music associated with the country of the dish she was preparing. Often bringing meals to her production team during recording sessions, she says the vibes of the international music, and the camaraderie that food and fellowship can bring, would influence some of the sonic tones of her songs.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Maybe rebellion. … I want to do something that I don’t get paid for, that I’m not defined by,” said Monét. “You don’t have to make your schedule around only the things that clearly pay you. And you never know where it will take you.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Frequency of Love\u003c/em> will largely dictate where her career is headed next. But Monét hopes to move with intention and a spirit of gratitude, which she’s prioritizing throughout her life.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Victoria Monét’s upcoming \u003ca href=\"https://www.victoriamonet.co/#tour\">Frequency of Love\u003c/a> tour will conclude with shows in Sacramento (Dec. 16) and San Francisco (Dec. 17). \u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Victoria Monét’s upcoming \u003ca href=\"https://www.victoriamonet.co/#tour\">Frequency of Love\u003c/a> tour will conclude with shows in Sacramento (Dec. 16) and San Francisco (Dec. 17). \u003c/em>\u003c/p>\n"
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"excerpt": "The Sacramento-raised artist discusses her new album, her passion for love, and going to culinary school.",
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"title": "Victoria Monét’s ‘Frequency of Love’ Aims to Strike the Optimal Sonic Vibration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Victoria Monét won’t take it personally if you call her upcoming album a comeback, even though it has only been a three-year break.\u003c/p>\n\n\n\n\u003cp>“It should be normal to take time to create your next album. I know we live in a world where we want everything fast,” the Sacramento-raised artist said in an interview with the Associated Press. For inspiration, she said she had to let life take its course.\u003c/p>\n\n\n\n\u003cp>“I’m OK with people asking for more music or feeling like, ‘Dang, I missed her.’ Or this is a comeback, because that makes me feel like there was a gap in time where they noticed that I was gone,” the artist said.\u003c/p>\n\n\n\n\u003cp>The “On My Mama” singer returns Friday with \u003cem>Frequency of Love\u003c/em>, a 22-track studio project that follows her \u003ca href=\"https://www.kqed.org/arts/13938043/bay-area-grammy-award-nominees-revealed-victoria-monet-metallica-and-more\">Grammy-winning\u003c/a> \u003cem>Jaguar II\u003c/em>, which she made in 2023.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h99lQg2zSl0'\n title='//www.youtube.com/embed/h99lQg2zSl0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>The new album is powered by singles like the house-flavored “Reach Out,” yacht R&B-inspired “Juicy” and “Let Me,” which is a slow jam that already reached No. 1 on Billboard’s adult R&B airplay chart. Some of the new work features heavyweights Bruno Mars and SZA, as well as R&B hitmakers Bryson Tiller, Leon Thomas and Chlöe Bailey.\u003c/p>\n\n\n\n\u003cp>“I’m really, really, really passionate about love. … A lot of it was just reflective of what I was going through or feeling while dating,” said Monét, who originally considered creating a yacht-R&B album. “The album covers many bases, including love for my daughter, love for the world, what I want to see for it.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Monét aimed to channel Michael Jackson’s risk-taking artistry\u003c/h2>\n\n\n\n\u003cp>\u003cem>Frequency of Love\u003c/em>, executive produced by Camper, takes listeners on a sonic excursion beyond romance, with several interpolations of classic ’90s R&B songs skillfully peppered throughout.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"alignright size-full is-resized\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3.jpg\" alt=\"\" class=\"wp-image-13994417\" style=\"width:370px;height:auto\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/monet-3-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The album cover for ‘Frequency of Love’ by Victoria Monét. (Lovett Music/RCA Records)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>“Almost,” which includes a reference to Brandy’s “Almost Doesn’t Count,” is a sensual take on feeling sexually unsatisfied, while “For You” reimagines Kenny Lattimore’s classic romantic ballad. “Care for Somebody (Interlude)” is Monét’s rendition of a song she first encountered as a child while watching Halle Berry in \u003cem>Introducing Dorothy Dandridge\u003c/em> with her grandmother.\u003c/p>\n\n\n\n\u003cp>Michael Jackson’s musical growth between \u003cem>Off the Wall\u003c/em> and \u003cem>Thriller\u003c/em> inspired Monét’s creative process. While she’s quick to halt any comparison to the commercial and critical acclaim of one of music’s most prolific artists, she aimed to channel the same risk-taking artistry.\u003c/p>\n\n\n\n\u003cp>“I did not make \u003cem>Thriller\u003c/em>,” Monét said. “I just made my version of what I would make with that mindset.”\u003c/p>\n\n\n\n\u003cp>The singer, 37, is keenly aware of heightened expectations. But she was slightly unprepared for some negativity that followed her 2024 Grammy wins for best new artist, best R&B album and best non-classical engineered album.\u003c/p>\n\n\n\n\u003cp>“I think there was a flip from me being an underdog that everyone wanted to support,” she said. “If I get millions of supporters, I can also have millions of haters. But who am I paying attention to? And that’s what the album for me is about.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FI2zxG3DdOY'\n title='//www.youtube.com/embed/FI2zxG3DdOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Monét was in the recording studio — and in the kitchen\u003c/h2>\n\n\n\n\u003cp>Recently serving as a special guest on the European stretch of Bruno Mars’ The Romantic tour, Monét is gearing up for her own Frequency of Love dates, visiting 27 North American cities starting in late October.\u003c/p>\n\n\n\n\u003cp>After beginning her career penning songs for Ariana Grande, Blackpink, Chloe x Halle and Selena Gomez, Monét is still interested in writing collaborations and working with “unexpected” artists. She also dreams of writing scripted TV and film projects, including a comedy.\u003c/p>\n\n\n\n\u003cp>A creative at heart, Monét also recently graduated from the Institute of Culinary Education as its top student. During class, she’d listen to music associated with the country of the dish she was preparing. Often bringing meals to her production team during recording sessions, she says the vibes of the international music, and the camaraderie that food and fellowship can bring, would influence some of the sonic tones of her songs.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Z_hsD-TZ_U4'\n title='//www.youtube.com/embed/Z_hsD-TZ_U4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>So why would a performer at the height of her career become a chef?\u003c/p>\n\n\n\n\u003cp>“Maybe rebellion. … I want to do something that I don’t get paid for, that I’m not defined by,” said Monét. “You don’t have to make your schedule around only the things that clearly pay you. And you never know where it will take you.”\u003c/p>\n\n\n\n\u003cp>\u003cem>Frequency of Love\u003c/em> will largely dictate where her career is headed next. But Monét hopes to move with intention and a spirit of gratitude, which she’s prioritizing throughout her life.\u003c/p>\n\n\n\n\u003cp>“I went through a moment where I was critical of everything. I was looking around and seeing what could be better: criticizing myself, the workplace, the state of my mood, the state of music, state of voice, my body, just nitpicking everything,” she said. “And so, it’s really been a journey to come to a place where I can operate in that shift — that paradigm shift — that makes me OK with everything that is, and also OK with everything that is going to come.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Victoria Monét’s upcoming \u003ca href=\"https://www.victoriamonet.co/#tour\">Frequency of Love\u003c/a> tour will conclude with shows in Sacramento (Dec. 16) and San Francisco (Dec. 17). \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "in-the-stax-berkeley-library-john-henry-sound-system",
"title": "The John Henry Sound System Comes to the Berkeley Public Library",
"publishDate": 1790813012,
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"headTitle": "The John Henry Sound System Comes to the Berkeley Public Library | KQED",
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"content": "\n\u003cp>At the main branch of the \u003ca href=\"https://www.kqed.org/arts/tag/berkeley\">Berkeley\u003c/a> Public Library sits a set of speakers that look like mountains.\u003c/p>\n\n\n\n\u003cp>The pair of nearly nine-foot white triangular wooden blocks tower over \u003ca href=\"https://blackamericansoundsystem.org/tagged/the%20break%20room\">\u003cem>The Break Room\u003c/em>\u003c/a>, which is less of a room and more of a nook off of the second floor’s main hallway. At the base of the speakers is a garden of faux plants, and archival posters of star-studded local events hang in the window behind them.\u003c/p>\n\n\n\n\u003cp>On the floor, separating the two mammoth speakers, a pair of long brown wooden blocks are laid horizontally and stacked on top of one another. Written on them in bold red letters are the words “\u003ca href=\"https://blackamericansoundsystem.org/\">Black American Sound System\u003c/a>.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg\" alt=\"\" class=\"wp-image-13994361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">The towering John Henry Sound System is an artistic commentary on labor and culture, music and movements. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“These are 1984 Cerwin-Vegas,” says singer and sonic designer \u003ca href=\"https://www.instagram.com/ddeonbrown/\">Derwin Deon Brown II\u003c/a>, describing the speakers. Brown calls it the \u003ca href=\"https://www.instagram.com/reels/Dd4rX4iykUM/\">John Henry Sound System\u003c/a>, named after the Black American folk hero.\u003c/p>\n\n\n\n\u003cp>Brown and his towering sound system are the centerpiece of \u003ca href=\"https://www.berkeleypubliclibrary.org/inthestax\">In The Stax\u003c/a>, an annual series of music-related programs across the Berkeley Public Library system. The first performance in the series takes place Thursday, Oct. 1 at the Claremont Branch with instrumentalist \u003ca href=\"https://www.instagram.com/connoisseurrat/\">Connoisseur Rat\u003c/a>, and events continue through the second week of December.\u003c/p>\n\n\n\n\n\n\u003cp>Since launching in 2022, the series has featured artists like Oakland punk band \u003ca href=\"https://youtu.be/5ra-3x0cNxQ?si=-_tfH-67cPYp_zuZ\">Skip the Needle\u003c/a> and soul singer \u003ca href=\"https://www.youtube.com/watch?v=tkfX6lwXTHU\">Marisha Ashanti\u003c/a>. Berkeley Public Library Specialist \u003ca href=\"https://www.instagram.com/_readwatchlisten/\">Chinyere Keita\u003c/a>, who organizes the events, says the goal is to bring Black artists into the space.\u003c/p>\n\n\n\n\u003cp>Born and raised in Oakland, Keita spent her teenage and young adult years at the Berkeley library, working there for the past 15 years. During that time, she’s noticed that younger folks and people of color will overlook the library as a welcoming third space, and assume that all it offers are books and free wi-fi.\u003c/p>\n\n\n\n\u003cp>“I just want to always remind people that our culture is here. Our history is here,” she tells me during a recent phone call. “And Derwin Deon Brown II had the exact kind of thing reflected in his artwork.”\u003c/p>\n\n\n\n\u003cp>Brown is In The Stax’s first artist-in-residence. Along with his John Henry Sound System, he’ll debut his forthcoming album (also titled \u003cem>John Henry\u003c/em>) later this fall. In the meantime, he’s been working with Keita to develop the event series. “And all the programming,” says Keita, “is around Black artists.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg\" alt=\"An African American man in a hat and brown jacket and a woman in a green shirt and large afro pose for a photo inside of a library.\" class=\"wp-image-13994358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Artist Derwin Deon Brown II and library specialist Chinyere Keita have programmed a series of events this fall throughout the Berkeley Public Library system. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The series features performances from the likes of lyricist \u003ca href=\"https://www.instagram.com/kayattamusic/\">Kayatta\u003c/a>, a panel discussion about the current state of Black radio, a Wild West Femme Cypher and a workshop where people can burn their own playlists to a CD and create collages as cover art. More than just listening to a lecture, Keita tells me, it’s about weaving new ideas into the culture of the library.\u003c/p>\n\n\n\n\u003cp>“Yoga was actually our most popular program at the Oakland Public Library,” says Brown, referring to a workshop last spring where he collaborated with \u003ca href=\"https://www.instagram.com/blacktoyoga/\">Black to Yoga\u003c/a> and compiled a playlist of songs to center healing. “We’re gonna be doing the same thing at Berkeley Public Library,” he says, “but this time, live.”\u003c/p>\n\n\n\n\u003cp>Instruments and vocals, sound waves and varying vibrational energies are tools to help people center themselves. And ultimately the goal is to use those tools to get people to relax and recharge. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg\" alt=\"\" class=\"wp-image-13994359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">In addition to being a musician and designing the mammoth John Henry Sound System, Derwin Deon Brown II is the youngest member of the \u003ca href=\"https://oaklandbca.org/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAcGRvZgJzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadUF8JYpjlSY-QjJAHuM76e8nYpYMxezNfVQ0tBvJIS3oRxhGekji8j2xe-2A_aem_jNfBI64Zd3bz1zSSrO-zUQ\">Oakland Black Cowboy Association\u003c/a>. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“And when we talk about ‘the break,’” Brown says, “we really want to embody all the definitions of that.” The “break” can be a rest, a dose of culture or a break from habits. It can even be breakbeats found in hip-hop. Ultimately, says Brown, it’s about convincing people to “integrate breaks into our lives.”\u003c/p>\n\n\n\n\u003cp>The 27-year-old laments the amount of time that work has taken him away from his family. Originally from Pasadena, he moved to Oakland in his college years, attending San Francisco State University. “Oakland has raised me as a man,” he affirms, now a decade into his East Bay residency. A former legal aid and social worker, Brown admits the corporate ladder is deceiving.\u003c/p>\n\n\n\n\u003cp>“I’m thinking I’m working my way up and really I’m just on a treadmill, like many people, chasing the next thing,” he tells me with an exhale. “Niggas was tired. You know, we’re working and doing too much shit, man.”\u003c/p>\n\n\n\n\u003cp>John Henry is an intentional name for Brown’s sound system and forthcoming album. In the folk tale, Henry, a broad-shouldered African-American blue-collar worker with a hammer, bore a hole through a mountain faster a machine, but collapsed and died soon after his victory.\u003c/p>\n\n\n\n\u003cp>“It’s an allegory for Black labor, and the limits of our labor,” Brown professes.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-scaled.jpeg\" alt=\"Looking out the window from inside of the Main branch of the Berkeley Public Library, as translucent concert posters adorn the windows.\" class=\"wp-image-13994357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">As a part of ‘The Break Room,’ archival concert posters adorn the walls and windows of the Berkeley Public Library. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For Brown, as a Black queer man in America, the “machine” he’s in competition with can take many forms, be it new predatory technology or old-fashioned racism. It can even show up internally, he says, clarifying that poor mental health, habitually people-pleasing or bouts of \u003ca href=\"https://www.kqed.org/news/12101892/is-it-love-or-limerence-why-intense-chemistry-can-be-misleading\">limerence\u003c/a> are “machines” of a different sort.\u003c/p>\n\n\n\n\u003cp>“How do I temper those machines? How do I study them, observe them and conquer them?” asks the artist. “What would it be like if John Henry survived? That’s what this is about.”\u003c/p>\n\n\n\n\u003cp>On the fifth floor of Berkeley’s main library is a multimedia station where people can \u003cem>take a break\u003c/em> and listen to a CD from Gucci Mane and read an article about John Coltrane, or slap a record by Santana and peruse a magazine with Steve Lacy on the cover.\u003c/p>\n\n\n\n\u003cp>And just a few floors below, encased in hand-cut wooden triangles, are a set of speakers unlike any other, as four 15-inch drivers, two tweeters and a midrange horn come together to sonically spread culture.\u003c/p>\n\n\n\n\u003cp>“They’re custom-made for pretty loud bass,” Brown says of his John Henry Sound System. Although they’re in a library, the speakers are on par with the ones you’d hear at concert halls, churches and clubs. “And that’s really the sound that I wanted to bring,” he says.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Events in the \u003c/em>‘\u003cem>In The Stax’ series run now through Dec. 12. \u003ca href=\"https://www.berkeleypubliclibrary.org/inthestax\">More details and information here\u003c/a>. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>The pair of nearly nine-foot white triangular wooden blocks tower over \u003ca href=\"https://blackamericansoundsystem.org/tagged/the%20break%20room\">\u003cem>The Break Room\u003c/em>\u003c/a>, which is less of a room and more of a nook off of the second floor’s main hallway. At the base of the speakers is a garden of faux plants, and archival posters of star-studded local events hang in the window behind them.\u003c/p>\n",
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"\n\u003cp>The pair of nearly nine-foot white triangular wooden blocks tower over \u003ca href=\"https://blackamericansoundsystem.org/tagged/the%20break%20room\">\u003cem>The Break Room\u003c/em>\u003c/a>, which is less of a room and more of a nook off of the second floor’s main hallway. At the base of the speakers is a garden of faux plants, and archival posters of star-studded local events hang in the window behind them.\u003c/p>\n"
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"innerHTML": "\n\u003cp>On the floor, separating the two mammoth speakers, a pair of long brown wooden blocks are laid horizontally and stacked on top of one another. Written on them in bold red letters are the words “\u003ca href=\"https://blackamericansoundsystem.org/\">Black American Sound System\u003c/a>.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg\" alt=\"\" class=\"wp-image-13994361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The towering John Henry Sound System is an artistic commentary on labor and culture, music and movements.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg\" alt=\"\" class=\"wp-image-13994361\"/>\u003cfigcaption class=\"wp-element-caption\">The towering John Henry Sound System is an artistic commentary on labor and culture, music and movements.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“These are 1984 Cerwin-Vegas,” says singer and sonic designer \u003ca href=\"https://www.instagram.com/ddeonbrown/\">Derwin Deon Brown II\u003c/a>, describing the speakers. Brown calls it the \u003ca href=\"https://www.instagram.com/reels/Dd4rX4iykUM/\">John Henry Sound System\u003c/a>, named after the Black American folk hero.\u003c/p>\n",
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"\n\u003cp>“These are 1984 Cerwin-Vegas,” says singer and sonic designer \u003ca href=\"https://www.instagram.com/ddeonbrown/\">Derwin Deon Brown II\u003c/a>, describing the speakers. Brown calls it the \u003ca href=\"https://www.instagram.com/reels/Dd4rX4iykUM/\">John Henry Sound System\u003c/a>, named after the Black American folk hero.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Brown and his towering sound system are the centerpiece of \u003ca href=\"https://www.berkeleypubliclibrary.org/inthestax\">In The Stax\u003c/a>, an annual series of music-related programs across the Berkeley Public Library system. The first performance in the series takes place Thursday, Oct. 1 at the Claremont Branch with instrumentalist \u003ca href=\"https://www.instagram.com/connoisseurrat/\">Connoisseur Rat\u003c/a>, and events continue through the second week of December.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Since launching in 2022, the series has featured artists like Oakland punk band \u003ca href=\"https://youtu.be/5ra-3x0cNxQ?si=-_tfH-67cPYp_zuZ\">Skip the Needle\u003c/a> and soul singer \u003ca href=\"https://www.youtube.com/watch?v=tkfX6lwXTHU\">Marisha Ashanti\u003c/a>. Berkeley Public Library Specialist \u003ca href=\"https://www.instagram.com/_readwatchlisten/\">Chinyere Keita\u003c/a>, who organizes the events, says the goal is to bring Black artists into the space.\u003c/p>\n",
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"\n\u003cp>Since launching in 2022, the series has featured artists like Oakland punk band \u003ca href=\"https://youtu.be/5ra-3x0cNxQ?si=-_tfH-67cPYp_zuZ\">Skip the Needle\u003c/a> and soul singer \u003ca href=\"https://www.youtube.com/watch?v=tkfX6lwXTHU\">Marisha Ashanti\u003c/a>. Berkeley Public Library Specialist \u003ca href=\"https://www.instagram.com/_readwatchlisten/\">Chinyere Keita\u003c/a>, who organizes the events, says the goal is to bring Black artists into the space.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Born and raised in Oakland, Keita spent her teenage and young adult years at the Berkeley library, working there for the past 15 years. During that time, she’s noticed that younger folks and people of color will overlook the library as a welcoming third space, and assume that all it offers are books and free wi-fi.\u003c/p>\n",
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"\n\u003cp>Born and raised in Oakland, Keita spent her teenage and young adult years at the Berkeley library, working there for the past 15 years. During that time, she’s noticed that younger folks and people of color will overlook the library as a welcoming third space, and assume that all it offers are books and free wi-fi.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I just want to always remind people that our culture is here. Our history is here,” she tells me during a recent phone call. “And Derwin Deon Brown II had the exact kind of thing reflected in his artwork.”\u003c/p>\n",
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"\n\u003cp>“I just want to always remind people that our culture is here. Our history is here,” she tells me during a recent phone call. “And Derwin Deon Brown II had the exact kind of thing reflected in his artwork.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Brown is In The Stax’s first artist-in-residence. Along with his John Henry Sound System, he’ll debut his forthcoming album (also titled \u003cem>John Henry\u003c/em>) later this fall. In the meantime, he’s been working with Keita to develop the event series. “And all the programming,” says Keita, “is around Black artists.”\u003c/p>\n",
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"\n\u003cp>Brown is In The Stax’s first artist-in-residence. Along with his John Henry Sound System, he’ll debut his forthcoming album (also titled \u003cem>John Henry\u003c/em>) later this fall. In the meantime, he’s been working with Keita to develop the event series. “And all the programming,” says Keita, “is around Black artists.”\u003c/p>\n"
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"alt": "An African American man in a hat and brown jacket and a woman in a green shirt and large afro pose for a photo inside of a library.",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg\" alt=\"An African American man in a hat and brown jacket and a woman in a green shirt and large afro pose for a photo inside of a library.\" class=\"wp-image-13994358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-1536x1027.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Artist Derwin Deon Brown II and library specialist Chinyere Keita have programmed a series of events this fall throughout the Berkeley Public Library system.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg\" alt=\"An African American man in a hat and brown jacket and a woman in a green shirt and large afro pose for a photo inside of a library.\" class=\"wp-image-13994358\"/>\u003cfigcaption class=\"wp-element-caption\">Artist Derwin Deon Brown II and library specialist Chinyere Keita have programmed a series of events this fall throughout the Berkeley Public Library system.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The series features performances from the likes of lyricist \u003ca href=\"https://www.instagram.com/kayattamusic/\">Kayatta\u003c/a>, a panel discussion about the current state of Black radio, a Wild West Femme Cypher and a workshop where people can burn their own playlists to a CD and create collages as cover art. More than just listening to a lecture, Keita tells me, it’s about weaving new ideas into the culture of the library.\u003c/p>\n",
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"\n\u003cp>The series features performances from the likes of lyricist \u003ca href=\"https://www.instagram.com/kayattamusic/\">Kayatta\u003c/a>, a panel discussion about the current state of Black radio, a Wild West Femme Cypher and a workshop where people can burn their own playlists to a CD and create collages as cover art. More than just listening to a lecture, Keita tells me, it’s about weaving new ideas into the culture of the library.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Yoga was actually our most popular program at the Oakland Public Library,” says Brown, referring to a workshop last spring where he collaborated with \u003ca href=\"https://www.instagram.com/blacktoyoga/\">Black to Yoga\u003c/a> and compiled a playlist of songs to center healing. “We’re gonna be doing the same thing at Berkeley Public Library,” he says, “but this time, live.”\u003c/p>\n",
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"\n\u003cp>“Yoga was actually our most popular program at the Oakland Public Library,” says Brown, referring to a workshop last spring where he collaborated with \u003ca href=\"https://www.instagram.com/blacktoyoga/\">Black to Yoga\u003c/a> and compiled a playlist of songs to center healing. “We’re gonna be doing the same thing at Berkeley Public Library,” he says, “but this time, live.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Instruments and vocals, sound waves and varying vibrational energies are tools to help people center themselves. And ultimately the goal is to use those tools to get people to relax and recharge. \u003c/p>\n",
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"\n\u003cp>Instruments and vocals, sound waves and varying vibrational energies are tools to help people center themselves. And ultimately the goal is to use those tools to get people to relax and recharge. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg\" alt=\"\" class=\"wp-image-13994359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">In addition to being a musician and designing the mammoth John Henry Sound System, Derwin Deon Brown II is the youngest member of the \u003ca href=\"https://oaklandbca.org/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAcGRvZgJzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadUF8JYpjlSY-QjJAHuM76e8nYpYMxezNfVQ0tBvJIS3oRxhGekji8j2xe-2A_aem_jNfBI64Zd3bz1zSSrO-zUQ\">Oakland Black Cowboy Association\u003c/a>.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg\" alt=\"\" class=\"wp-image-13994359\"/>\u003cfigcaption class=\"wp-element-caption\">In addition to being a musician and designing the mammoth John Henry Sound System, Derwin Deon Brown II is the youngest member of the \u003ca href=\"https://oaklandbca.org/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAcGRvZgJzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadUF8JYpjlSY-QjJAHuM76e8nYpYMxezNfVQ0tBvJIS3oRxhGekji8j2xe-2A_aem_jNfBI64Zd3bz1zSSrO-zUQ\">Oakland Black Cowboy Association\u003c/a>.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“And when we talk about ‘the break,’” Brown says, “we really want to embody all the definitions of that.” The “break” can be a rest, a dose of culture or a break from habits. It can even be breakbeats found in hip-hop. Ultimately, says Brown, it’s about convincing people to “integrate breaks into our lives.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The 27-year-old laments the amount of time that work has taken him away from his family. Originally from Pasadena, he moved to Oakland in his college years, attending San Francisco State University. “Oakland has raised me as a man,” he affirms, now a decade into his East Bay residency. A former legal aid and social worker, Brown admits the corporate ladder is deceiving.\u003c/p>\n",
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"\n\u003cp>The 27-year-old laments the amount of time that work has taken him away from his family. Originally from Pasadena, he moved to Oakland in his college years, attending San Francisco State University. “Oakland has raised me as a man,” he affirms, now a decade into his East Bay residency. A former legal aid and social worker, Brown admits the corporate ladder is deceiving.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I’m thinking I’m working my way up and really I’m just on a treadmill, like many people, chasing the next thing,” he tells me with an exhale. “Niggas was tired. You know, we’re working and doing too much shit, man.”\u003c/p>\n",
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"\n\u003cp>“I’m thinking I’m working my way up and really I’m just on a treadmill, like many people, chasing the next thing,” he tells me with an exhale. “Niggas was tired. You know, we’re working and doing too much shit, man.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>John Henry is an intentional name for Brown’s sound system and forthcoming album. In the folk tale, Henry, a broad-shouldered African-American blue-collar worker with a hammer, bore a hole through a mountain faster a machine, but collapsed and died soon after his victory.\u003c/p>\n",
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"\n\u003cp>John Henry is an intentional name for Brown’s sound system and forthcoming album. In the folk tale, Henry, a broad-shouldered African-American blue-collar worker with a hammer, bore a hole through a mountain faster a machine, but collapsed and died soon after his victory.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“It’s an allegory for Black labor, and the limits of our labor,” Brown professes.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For Brown, as a Black queer man in America, the “machine” he’s in competition with can take many forms, be it new predatory technology or old-fashioned racism. It can even show up internally, he says, clarifying that poor mental health, habitually people-pleasing or bouts of \u003ca href=\"https://www.kqed.org/news/12101892/is-it-love-or-limerence-why-intense-chemistry-can-be-misleading\">limerence\u003c/a> are “machines” of a different sort.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“How do I temper those machines? How do I study them, observe them and conquer them?” asks the artist. “What would it be like if John Henry survived? That’s what this is about.”\u003c/p>\n",
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"\n\u003cp>“How do I temper those machines? How do I study them, observe them and conquer them?” asks the artist. “What would it be like if John Henry survived? That’s what this is about.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>On the fifth floor of Berkeley’s main library is a multimedia station where people can \u003cem>take a break\u003c/em> and listen to a CD from Gucci Mane and read an article about John Coltrane, or slap a record by Santana and peruse a magazine with Steve Lacy on the cover.\u003c/p>\n",
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"innerHTML": "\n\u003cp>And just a few floors below, encased in hand-cut wooden triangles, are a set of speakers unlike any other, as four 15-inch drivers, two tweeters and a midrange horn come together to sonically spread culture.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“They’re custom-made for pretty loud bass,” Brown says of his John Henry Sound System. Although they’re in a library, the speakers are on par with the ones you’d hear at concert halls, churches and clubs. “And that’s really the sound that I wanted to bring,” he says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Events in the \u003c/em>‘\u003cem>In The Stax’ series run now through Dec. 12. \u003ca href=\"https://www.berkeleypubliclibrary.org/inthestax\">More details and information here\u003c/a>. \u003c/em>\u003c/p>\n",
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"excerpt": "Four 15s slappin' in... your local public library?!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>At the main branch of the \u003ca href=\"https://www.kqed.org/arts/tag/berkeley\">Berkeley\u003c/a> Public Library sits a set of speakers that look like mountains.\u003c/p>\n\n\n\n\u003cp>The pair of nearly nine-foot white triangular wooden blocks tower over \u003ca href=\"https://blackamericansoundsystem.org/tagged/the%20break%20room\">\u003cem>The Break Room\u003c/em>\u003c/a>, which is less of a room and more of a nook off of the second floor’s main hallway. At the base of the speakers is a garden of faux plants, and archival posters of star-studded local events hang in the window behind them.\u003c/p>\n\n\n\n\u003cp>On the floor, separating the two mammoth speakers, a pair of long brown wooden blocks are laid horizontally and stacked on top of one another. Written on them in bold red letters are the words “\u003ca href=\"https://blackamericansoundsystem.org/\">Black American Sound System\u003c/a>.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg\" alt=\"\" class=\"wp-image-13994361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4941-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">The towering John Henry Sound System is an artistic commentary on labor and culture, music and movements. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“These are 1984 Cerwin-Vegas,” says singer and sonic designer \u003ca href=\"https://www.instagram.com/ddeonbrown/\">Derwin Deon Brown II\u003c/a>, describing the speakers. Brown calls it the \u003ca href=\"https://www.instagram.com/reels/Dd4rX4iykUM/\">John Henry Sound System\u003c/a>, named after the Black American folk hero.\u003c/p>\n\n\n\n\u003cp>Brown and his towering sound system are the centerpiece of \u003ca href=\"https://www.berkeleypubliclibrary.org/inthestax\">In The Stax\u003c/a>, an annual series of music-related programs across the Berkeley Public Library system. The first performance in the series takes place Thursday, Oct. 1 at the Claremont Branch with instrumentalist \u003ca href=\"https://www.instagram.com/connoisseurrat/\">Connoisseur Rat\u003c/a>, and events continue through the second week of December.\u003c/p>\n\n\n\n\n\n\u003cp>Since launching in 2022, the series has featured artists like Oakland punk band \u003ca href=\"https://youtu.be/5ra-3x0cNxQ?si=-_tfH-67cPYp_zuZ\">Skip the Needle\u003c/a> and soul singer \u003ca href=\"https://www.youtube.com/watch?v=tkfX6lwXTHU\">Marisha Ashanti\u003c/a>. Berkeley Public Library Specialist \u003ca href=\"https://www.instagram.com/_readwatchlisten/\">Chinyere Keita\u003c/a>, who organizes the events, says the goal is to bring Black artists into the space.\u003c/p>\n\n\n\n\u003cp>Born and raised in Oakland, Keita spent her teenage and young adult years at the Berkeley library, working there for the past 15 years. During that time, she’s noticed that younger folks and people of color will overlook the library as a welcoming third space, and assume that all it offers are books and free wi-fi.\u003c/p>\n\n\n\n\u003cp>“I just want to always remind people that our culture is here. Our history is here,” she tells me during a recent phone call. “And Derwin Deon Brown II had the exact kind of thing reflected in his artwork.”\u003c/p>\n\n\n\n\u003cp>Brown is In The Stax’s first artist-in-residence. Along with his John Henry Sound System, he’ll debut his forthcoming album (also titled \u003cem>John Henry\u003c/em>) later this fall. In the meantime, he’s been working with Keita to develop the event series. “And all the programming,” says Keita, “is around Black artists.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg\" alt=\"An African American man in a hat and brown jacket and a woman in a green shirt and large afro pose for a photo inside of a library.\" class=\"wp-image-13994358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DSC01545-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Artist Derwin Deon Brown II and library specialist Chinyere Keita have programmed a series of events this fall throughout the Berkeley Public Library system. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The series features performances from the likes of lyricist \u003ca href=\"https://www.instagram.com/kayattamusic/\">Kayatta\u003c/a>, a panel discussion about the current state of Black radio, a Wild West Femme Cypher and a workshop where people can burn their own playlists to a CD and create collages as cover art. More than just listening to a lecture, Keita tells me, it’s about weaving new ideas into the culture of the library.\u003c/p>\n\n\n\n\u003cp>“Yoga was actually our most popular program at the Oakland Public Library,” says Brown, referring to a workshop last spring where he collaborated with \u003ca href=\"https://www.instagram.com/blacktoyoga/\">Black to Yoga\u003c/a> and compiled a playlist of songs to center healing. “We’re gonna be doing the same thing at Berkeley Public Library,” he says, “but this time, live.”\u003c/p>\n\n\n\n\u003cp>Instruments and vocals, sound waves and varying vibrational energies are tools to help people center themselves. And ultimately the goal is to use those tools to get people to relax and recharge. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg\" alt=\"\" class=\"wp-image-13994359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4933-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">In addition to being a musician and designing the mammoth John Henry Sound System, Derwin Deon Brown II is the youngest member of the \u003ca href=\"https://oaklandbca.org/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAcGRvZgJzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadUF8JYpjlSY-QjJAHuM76e8nYpYMxezNfVQ0tBvJIS3oRxhGekji8j2xe-2A_aem_jNfBI64Zd3bz1zSSrO-zUQ\">Oakland Black Cowboy Association\u003c/a>. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“And when we talk about ‘the break,’” Brown says, “we really want to embody all the definitions of that.” The “break” can be a rest, a dose of culture or a break from habits. It can even be breakbeats found in hip-hop. Ultimately, says Brown, it’s about convincing people to “integrate breaks into our lives.”\u003c/p>\n\n\n\n\u003cp>The 27-year-old laments the amount of time that work has taken him away from his family. Originally from Pasadena, he moved to Oakland in his college years, attending San Francisco State University. “Oakland has raised me as a man,” he affirms, now a decade into his East Bay residency. A former legal aid and social worker, Brown admits the corporate ladder is deceiving.\u003c/p>\n\n\n\n\u003cp>“I’m thinking I’m working my way up and really I’m just on a treadmill, like many people, chasing the next thing,” he tells me with an exhale. “Niggas was tired. You know, we’re working and doing too much shit, man.”\u003c/p>\n\n\n\n\u003cp>John Henry is an intentional name for Brown’s sound system and forthcoming album. In the folk tale, Henry, a broad-shouldered African-American blue-collar worker with a hammer, bore a hole through a mountain faster a machine, but collapsed and died soon after his victory.\u003c/p>\n\n\n\n\u003cp>“It’s an allegory for Black labor, and the limits of our labor,” Brown professes.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-scaled.jpeg\" alt=\"Looking out the window from inside of the Main branch of the Berkeley Public Library, as translucent concert posters adorn the windows.\" class=\"wp-image-13994357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_4914-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">As a part of ‘The Break Room,’ archival concert posters adorn the walls and windows of the Berkeley Public Library. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For Brown, as a Black queer man in America, the “machine” he’s in competition with can take many forms, be it new predatory technology or old-fashioned racism. It can even show up internally, he says, clarifying that poor mental health, habitually people-pleasing or bouts of \u003ca href=\"https://www.kqed.org/news/12101892/is-it-love-or-limerence-why-intense-chemistry-can-be-misleading\">limerence\u003c/a> are “machines” of a different sort.\u003c/p>\n\n\n\n\u003cp>“How do I temper those machines? How do I study them, observe them and conquer them?” asks the artist. “What would it be like if John Henry survived? That’s what this is about.”\u003c/p>\n\n\n\n\u003cp>On the fifth floor of Berkeley’s main library is a multimedia station where people can \u003cem>take a break\u003c/em> and listen to a CD from Gucci Mane and read an article about John Coltrane, or slap a record by Santana and peruse a magazine with Steve Lacy on the cover.\u003c/p>\n\n\n\n\u003cp>And just a few floors below, encased in hand-cut wooden triangles, are a set of speakers unlike any other, as four 15-inch drivers, two tweeters and a midrange horn come together to sonically spread culture.\u003c/p>\n\n\n\n\u003cp>“They’re custom-made for pretty loud bass,” Brown says of his John Henry Sound System. Although they’re in a library, the speakers are on par with the ones you’d hear at concert halls, churches and clubs. “And that’s really the sound that I wanted to bring,” he says.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Events in the \u003c/em>‘\u003cem>In The Stax’ series run now through Dec. 12. \u003ca href=\"https://www.berkeleypubliclibrary.org/inthestax\">More details and information here\u003c/a>. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "the-best-fashion-fan-fits-hot-looks-outfits-portola-festival-2026",
"title": "The Best Fan Fits and Hot Looks at Portola Festival 2026",
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},
"content": "\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n\n\n\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg\" alt=\"\" class=\"wp-image-13994326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray loves rave culture and has attended several festivals over the years.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg\" alt=\"\" class=\"wp-image-13994330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Allison Joy, 32, wears a Powerpuff Girls-inspired outfit during day two of Portola on Sunday, Sept. 27, 2026. The piece takes inspiration from the characters Buttercup, HIM, and Bubbles.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg\" alt=\"\" class=\"wp-image-13994332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jessica Carrasco, 26, wears a raccoon hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg\" alt=\"\" class=\"wp-image-13994317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg\" alt=\"\" class=\"wp-image-13994312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, at left, and bestie Derek Song pose for a portrait together during day one of Portola on Saturday, Sept. 26, 2026. The pair regularly attend festivals together, and call each other ‘unofficial sibling.’\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg\" alt=\"\" class=\"wp-image-13994309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, wears a pair of leopard print overalls during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg\" alt=\"\" class=\"wp-image-13994308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Julia K., 23, wears a pair of leopard print ruffle shorts during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg\" alt=\"\" class=\"wp-image-13994310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jake A., 30, wears an open-shoulder top, shorts and silver sunglasses during day one of Portola on Saturday, Sept. 26, 2026. The outfit was put together at the last-minute from pieces Jake found at their family home after moving out of the Bay Area to Wisconsin. They returned to the Bay for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg\" alt=\"\" class=\"wp-image-13994304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, wears a “Cape Cod summer”-inspired outfit during day one of Portola on Saturday, Sept. 26, 2026. Liang, who was born and raised in the Bay, moved to Boston for school and made a trip back home to attend the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg\" alt=\"\" class=\"wp-image-13994305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, holds a handmade necklace he made in honor of his favorite type of butter during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg\" alt=\"\" class=\"wp-image-13994300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tara Paul, 40, holds a handmade ‘FERAL’ license plate sign during day one of Portola on Saturday, Sept. 26, 2026. Paul, who attended the festival with her fiancé, traveled from Sausalito to attend the festival and was most excited to see Robyn.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg\" alt=\"\" class=\"wp-image-13994327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray spent an hour styling her hair for the occasion.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg\" alt=\"\" class=\"wp-image-13994315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa I, 36, wears a shawl she bought at Sunset Campout , another festival, during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg\" alt=\"\" class=\"wp-image-13994324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Isabella Hernandez, 29, wears cat ears and a leather harness during day two of Portola on Sunday, Sept. 27, 2026. Hernandez traveled from Sacramento for the festival, and has attended nearly every year since it started in 2022.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg\" alt=\"\" class=\"wp-image-13994301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">From left, Michelle Padilla, Amina Allii and Janet Diaz pose for a portrait during day one of Portola on Saturday, Sept. 26, 2026. The three became fast friends when they met at Outside Lands, and sent each other various TikToks to coordinate outfits for Portola.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg\" alt=\"\" class=\"wp-image-13994302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Oakland resident Amina Allii wears a butterfly chain and leather pants during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg\" alt=\"\" class=\"wp-image-13994306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Axl Jones, left, and partner Chris Weachock make their way through the festival grounds during day one of Portola on Saturday, Sept. 26, 2026. The pair moved to the Bay Area from Texas eight years ago.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg\" alt=\"\" class=\"wp-image-13994321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Stella Oh, 31, at center, dances as Adéla performs during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg\" alt=\"\" class=\"wp-image-13994322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Matthew Lindberg, 32, of Oakland wears disco ball earrings and a pink cowboy hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg\" alt=\"\" class=\"wp-image-13994318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Nicole Bendana, 29, sports several colorful bracelets as she watches DJ Shadow perform during Portola day 1 on Saturday, Sept. 26, 2026. Bendana was one of several people wearing PLUR bracelets, which stand for Peace, Love, Unity, and Respect and are often exchanged among festivalgoers at EDM festivals.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg\" alt=\"\" class=\"wp-image-13994314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Derek Song wears several layers of necklaces during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg\" alt=\"\" class=\"wp-image-13994320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rebecca Seliga watches Adéla perform as she sits on top of Kelly Logachohe’s shoulders during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg\" alt=\"\" class=\"wp-image-13994313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, 26, wears a black sweatshirt with fur trim during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg\" alt=\"\" class=\"wp-image-13994307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, and Julia K., 23, wear matching leopard print outfits during day one of Portola on Saturday, Sept. 26, 2026. The pair have been friends since their middle school days, and traveled from Reno to attend the festival together.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg\" alt=\"\" class=\"wp-image-13994333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mariah Kilgore, 23, and Gloriel Ott, 35, watch Zara Larsson perform from the front row of the Pier Stage during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n",
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"\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n",
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"\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\"/>\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-1023x1536.jpg 1023w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\"/>\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg\" alt=\"\" class=\"wp-image-13994308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Julia K., 23, wears a pair of leopard print ruffle shorts during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg\" alt=\"\" class=\"wp-image-13994318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Nicole Bendana, 29, sports several colorful bracelets as she watches DJ Shadow perform during Portola day 1 on Saturday, Sept. 26, 2026. Bendana was one of several people wearing PLUR bracelets, which stand for Peace, Love, Unity, and Respect and are often exchanged among festivalgoers at EDM festivals.\u003c/figcaption>\u003c/figure>\n",
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"excerpt": "Attendees of the electronic music festival brought ‘ate’ to an entirely new level.",
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"title": "Photos: The Best Fan Fashion and Hot Looks at Portola Festival 2026 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s festival fashion, and then there’s Portola fashion. That much was evident over the weekend, when fans at the electronic music festival brought “ate” to an entirely new level.\u003c/p>\n\n\n\n\u003cp>Photographer Estefany Gonzalez was on the scene for photos of fans’ best fits and hottest looks.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela\">See photos of performances and read more about the weekend here\u003c/a>\u003c/em>\u003c/strong>\u003cem>\u003cstrong> and \u003ca href=\"https://www.kqed.org/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg\" alt=\"\" class=\"wp-image-13994316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_032-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg\" alt=\"\" class=\"wp-image-13994325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_018-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Jaylon McClure, 31, wears a fur hat to stay warm during day two of Portola on Sunday, Sept. 27, 2026. McClure traveled from Portland for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg\" alt=\"\" class=\"wp-image-13994326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_019-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray loves rave culture and has attended several festivals over the years.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg\" alt=\"\" class=\"wp-image-13994330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_028-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Allison Joy, 32, wears a Powerpuff Girls-inspired outfit during day two of Portola on Sunday, Sept. 27, 2026. The piece takes inspiration from the characters Buttercup, HIM, and Bubbles.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg\" alt=\"\" class=\"wp-image-13994332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_030-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jessica Carrasco, 26, wears a raccoon hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg\" alt=\"\" class=\"wp-image-13994317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_033-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Clermont, 24, from Berkeley, wears a silver star outfit during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg\" alt=\"\" class=\"wp-image-13994312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, at left, and bestie Derek Song pose for a portrait together during day one of Portola on Saturday, Sept. 26, 2026. The pair regularly attend festivals together, and call each other ‘unofficial sibling.’\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg\" alt=\"\" class=\"wp-image-13994309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_019-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, wears a pair of leopard print overalls during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg\" alt=\"\" class=\"wp-image-13994308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Julia K., 23, wears a pair of leopard print ruffle shorts during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg\" alt=\"\" class=\"wp-image-13994310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_020-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jake A., 30, wears an open-shoulder top, shorts and silver sunglasses during day one of Portola on Saturday, Sept. 26, 2026. The outfit was put together at the last-minute from pieces Jake found at their family home after moving out of the Bay Area to Wisconsin. They returned to the Bay for the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg\" alt=\"\" class=\"wp-image-13994304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_014-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, wears a “Cape Cod summer”-inspired outfit during day one of Portola on Saturday, Sept. 26, 2026. Liang, who was born and raised in the Bay, moved to Boston for school and made a trip back home to attend the festival.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg\" alt=\"\" class=\"wp-image-13994305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_015-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rich Liang, 30, holds a handmade necklace he made in honor of his favorite type of butter during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg\" alt=\"\" class=\"wp-image-13994300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_007-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tara Paul, 40, holds a handmade ‘FERAL’ license plate sign during day one of Portola on Saturday, Sept. 26, 2026. Paul, who attended the festival with her fiancé, traveled from Sausalito to attend the festival and was most excited to see Robyn.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg\" alt=\"\" class=\"wp-image-13994327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_020-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Katie Murray, 24, wears a dark futuristic outfit inspired by the artist Rezz during day two of Portola on Sunday, Sept. 27, 2026. Murray spent an hour styling her hair for the occasion.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg\" alt=\"\" class=\"wp-image-13994315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_031-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa I, 36, wears a shawl she bought at Sunset Campout , another festival, during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg\" alt=\"\" class=\"wp-image-13994324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_017-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Isabella Hernandez, 29, wears cat ears and a leather harness during day two of Portola on Sunday, Sept. 27, 2026. Hernandez traveled from Sacramento for the festival, and has attended nearly every year since it started in 2022.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg\" alt=\"\" class=\"wp-image-13994301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_011-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">From left, Michelle Padilla, Amina Allii and Janet Diaz pose for a portrait during day one of Portola on Saturday, Sept. 26, 2026. The three became fast friends when they met at Outside Lands, and sent each other various TikToks to coordinate outfits for Portola.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg\" alt=\"\" class=\"wp-image-13994302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_012-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\" />\u003cfigcaption class=\"wp-element-caption\">Oakland resident Amina Allii wears a butterfly chain and leather pants during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg\" alt=\"\" class=\"wp-image-13994306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_016-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Axl Jones, left, and partner Chris Weachock make their way through the festival grounds during day one of Portola on Saturday, Sept. 26, 2026. The pair moved to the Bay Area from Texas eight years ago.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg\" alt=\"\" class=\"wp-image-13994321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_014-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Stella Oh, 31, at center, dances as Adéla performs during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg\" alt=\"\" class=\"wp-image-13994322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_015-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Matthew Lindberg, 32, of Oakland wears disco ball earrings and a pink cowboy hat during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg\" alt=\"\" class=\"wp-image-13994318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_038-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Nicole Bendana, 29, sports several colorful bracelets as she watches DJ Shadow perform during Portola day 1 on Saturday, Sept. 26, 2026. Bendana was one of several people wearing PLUR bracelets, which stand for Peace, Love, Unity, and Respect and are often exchanged among festivalgoers at EDM festivals.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg\" alt=\"\" class=\"wp-image-13994314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_024-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Derek Song wears several layers of necklaces during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg\" alt=\"\" class=\"wp-image-13994320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_013-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Rebecca Seliga watches Adéla perform as she sits on top of Kelly Logachohe’s shoulders during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg\" alt=\"\" class=\"wp-image-13994313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_023-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aly Han, 26, wears a black sweatshirt with fur trim during day one of Portola on Saturday, Sept. 26, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg\" alt=\"\" class=\"wp-image-13994307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_017-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mikala L., 23, and Julia K., 23, wear matching leopard print outfits during day one of Portola on Saturday, Sept. 26, 2026. The pair have been friends since their middle school days, and traveled from Reno to attend the festival together.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg\" alt=\"\" class=\"wp-image-13994333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_34-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mariah Kilgore, 23, and Gloriel Ott, 35, watch Zara Larsson perform from the front row of the Pier Stage during day two of Portola on Sunday, Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"slug": "portola-review-sunday-zara-larsson-adela-kelela",
"title": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday",
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"headTitle": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday | KQED",
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"content": "\n\u003cp>For five years, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> has merged the Bay Area’s electronic music scene with sounds from all over the world. On Sunday, from Adéla’s Central European indie sleaze and Zara Larsson’s Barbie world of sparkly bright colors to Kelela’s world of sexy, electronic R&B, it all came together in one place. \u003c/p>\n\n\n\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg\" alt=\"\" class=\"wp-image-13994278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Adéla performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n\n\n\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/p/Dd0QWRGKUZw/\n\u003c/div>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Zara Larsson dominated the main stage \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The fog may have covered the San Francisco sky, but Zara Larsson brought her \u003ca href=\"https://www.youtube.com/watch?v=uvY8fdgezLQ\">neverending midnight sun\u003c/a>. Zara and her dancers coordinated in bright pastel colors while the background conjured her own Barbie dreamland, full of fast cars, short skirts and high heels. \u003c/p>\n\n\n\n\u003cp>During “Hot and Sexy,” Larsson incorporated the Teriyaki Boyz’ “Tokyo Drift” while she sang “PUSSPUSS97 on the number plate.” On its surface, “Hot & Sexy” celebrates women for being beautiful and desirable, but as Zara closed the song, she also expressed the realities of women who walk through the world feeling preyed upon. She posed the question: “Can I just be a girl?” \u003c/p>\n\n\n\n\n\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n\n\n\n\u003cp>Her Swedish background is always in the forefront as well. “Puss Puss,” the closing song on her \u003cem>Midnight Sun \u003c/em>album, is Swedish for “kiss kiss,” but at Portola, she had a goodnight-kiss surprise to end the set: \u003ca href=\"https://www.instagram.com/p/Dd0QWRGKUZw/?hl=en\">she brought out Robyn\u003c/a>, the iconic Swedish pop star who performed on the same stage Saturday, for a duet of “Talk to Me, Zara.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg\" alt=\"\" class=\"wp-image-13994273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Kelela performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Under a full moon, Kelela did it all\u003c/h2>\n\n\n\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n\n\n\n\u003cp>“There’s a lot of compartmentalizing of music, but tonight we’re doing all that shit,” she said, bridging the gaps between R&B music and electronic music. \u003c/p>\n\n\n\n\u003cp>The full moon illuminated the sky, the disco balls continued to spin and the light flashed behind her as she covered Sade’s “No Ordinary Love,” captivating the audience with her airy voice. But the mood didn’t last long. “Y’all ready to rave?” she asked a cheering crowd, and played “linknb,” making the entire crowd move their feet. \u003c/p>\n\n\n\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg\" alt=\"\" class=\"wp-image-13994274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg\" alt=\"\" class=\"wp-image-13994272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">JT performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg\" alt=\"\" class=\"wp-image-13994277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Swedish House Mafia closes out the Pier Stage during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg\" alt=\"\" class=\"wp-image-13994297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Clearcast poses for a portrait back stage during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg\" alt=\"\" class=\"wp-image-13994271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Horsegiirl performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg\" alt=\"\" class=\"wp-image-13994282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd while JT performs during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg\" alt=\"\" class=\"wp-image-13994270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Four Tet performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg\" alt=\"\" class=\"wp-image-13994275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">SG Lewis performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg\" alt=\"\" class=\"wp-image-13994283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people gather to watch Zara Larsson perform during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n",
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"\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n",
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"\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n",
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"\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n"
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border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\">\u003c/div>\u003c/div>\u003c/a>\u003c/div>\u003c/blockquote>\u003cscript async src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>"
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"innerHTML": "\n\u003cp>The fog may have covered the San Francisco sky, but Zara Larsson brought her \u003ca href=\"https://www.youtube.com/watch?v=uvY8fdgezLQ\">neverending midnight sun\u003c/a>. Zara and her dancers coordinated in bright pastel colors while the background conjured her own Barbie dreamland, full of fast cars, short skirts and high heels. \u003c/p>\n",
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"innerHTML": "\n\u003cp>During “Hot and Sexy,” Larsson incorporated the Teriyaki Boyz’ “Tokyo Drift” while she sang “PUSSPUSS97 on the number plate.” On its surface, “Hot & Sexy” celebrates women for being beautiful and desirable, but as Zara closed the song, she also expressed the realities of women who walk through the world feeling preyed upon. She posed the question: “Can I just be a girl?” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n",
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"\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Her Swedish background is always in the forefront as well. “Puss Puss,” the closing song on her \u003cem>Midnight Sun \u003c/em>album, is Swedish for “kiss kiss,” but at Portola, she had a goodnight-kiss surprise to end the set: \u003ca href=\"https://www.instagram.com/p/Dd0QWRGKUZw/?hl=en\">she brought out Robyn\u003c/a>, the iconic Swedish pop star who performed on the same stage Saturday, for a duet of “Talk to Me, Zara.” \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg\" alt=\"\" class=\"wp-image-13994273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-1536x1023.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Kelela performs during day two of Portola on Sunday Sept. 27, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"text": "Under a full moon, Kelela did it all",
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"innerHTML": "\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n",
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"\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“There’s a lot of compartmentalizing of music, but tonight we’re doing all that shit,” she said, bridging the gaps between R&B music and electronic music. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The full moon illuminated the sky, the disco balls continued to spin and the light flashed behind her as she covered Sade’s “No Ordinary Love,” captivating the audience with her airy voice. But the mood didn’t last long. “Y’all ready to rave?” she asked a cheering crowd, and played “linknb,” making the entire crowd move their feet. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n",
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"excerpt": "Pop princesses mixed with indie sleaze acts and hot electronic R&B on Portola‘s second day. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For five years, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> has merged the Bay Area’s electronic music scene with sounds from all over the world. On Sunday, from Adéla’s Central European indie sleaze and Zara Larsson’s Barbie world of sparkly bright colors to Kelela’s world of sexy, electronic R&B, it all came together in one place. \u003c/p>\n\n\n\n\u003cp>In a long lineage of pop stars, Adéla, the 22 year-old singer from Slovakia, is planting her flag. Fresh off the release of her debut album \u003cem>PRIMA\u003c/em>, she had people rushing to her set. With long pink hair and pink ballet barre to match, Adéla opened the set with her song “KGB,” a tale of spending childhood nights staying up late to learn English from watching TV. By the second song, “Go,” the pink wigs once on fans’ heads were flying through the sky. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg\" alt=\"\" class=\"wp-image-13994278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Adéla performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Performing on the smaller Crane Stage, Adéla got personal for “Ain’t in LA,” inspired by her mother, who once had aspirations of being a pop star. “My mom is the baddest bitch I know, and she never got to make her dreams come true,” she said from the stage. While performing, she put on a black and pink baseball cap and contorted her body into the shape of an S. \u003c/p>\n\n\n\n\u003cp>“She wants it so bad!” was heard in the crowd as Adéla launched into “Nicole Kidman,” her single currently flying up the Billboard charts with more than 1.5 million uses on TikTok. “Every single night, I pray that my tits are sitting right,” she sang as she showed off her body to match her lyrics. With a beat tailor-made for southern rap in the hands of a Slovakian pop princess, it made for a captivating moment. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Zara Larsson dominated the main stage \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The fog may have covered the San Francisco sky, but Zara Larsson brought her \u003ca href=\"https://www.youtube.com/watch?v=uvY8fdgezLQ\">neverending midnight sun\u003c/a>. Zara and her dancers coordinated in bright pastel colors while the background conjured her own Barbie dreamland, full of fast cars, short skirts and high heels. \u003c/p>\n\n\n\n\u003cp>During “Hot and Sexy,” Larsson incorporated the Teriyaki Boyz’ “Tokyo Drift” while she sang “PUSSPUSS97 on the number plate.” On its surface, “Hot & Sexy” celebrates women for being beautiful and desirable, but as Zara closed the song, she also expressed the realities of women who walk through the world feeling preyed upon. She posed the question: “Can I just be a girl?” \u003c/p>\n\n\n\n\n\n\u003cp>Larsson performed all the hits: “Midnight Sun,” “She Did it Again” with Tyla, her verse from “Stateside” with PinkPantheress and her iconic dance break to Sexyy Red’s “Looking For the Hoes” in the middle of “It Ain’t My Fault.” In her music and performance, the influences of R&B, hip-hop dance and, of course, pop music are very prevalent. \u003c/p>\n\n\n\n\u003cp>Her Swedish background is always in the forefront as well. “Puss Puss,” the closing song on her \u003cem>Midnight Sun \u003c/em>album, is Swedish for “kiss kiss,” but at Portola, she had a goodnight-kiss surprise to end the set: \u003ca href=\"https://www.instagram.com/p/Dd0QWRGKUZw/?hl=en\">she brought out Robyn\u003c/a>, the iconic Swedish pop star who performed on the same stage Saturday, for a duet of “Talk to Me, Zara.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg\" alt=\"\" class=\"wp-image-13994273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_42-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Kelela performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Under a full moon, Kelela did it all\u003c/h2>\n\n\n\n\u003cp>In the Ship Tent, Washington D.C. native Kelela packed power into her 45-minute set. Touring for her new album, \u003cem>New Avatar\u003c/em>, Kelela brought electronic and R&B sounds to the stage in grey leather pants, a black leather jacket, and dark sunglasses, turning it into \u003cem>The Matrix\u003c/em>. Classic Kelela songs like 2015’s “Rewind” were stripped of their traditional electronic production and played with live guitar and drums, and newer ones like “Contact” were sung over Aaliyah’s “One In A Million” beat. \u003c/p>\n\n\n\n\u003cp>“There’s a lot of compartmentalizing of music, but tonight we’re doing all that shit,” she said, bridging the gaps between R&B music and electronic music. \u003c/p>\n\n\n\n\u003cp>The full moon illuminated the sky, the disco balls continued to spin and the light flashed behind her as she covered Sade’s “No Ordinary Love,” captivating the audience with her airy voice. But the mood didn’t last long. “Y’all ready to rave?” she asked a cheering crowd, and played “linknb,” making the entire crowd move their feet. \u003c/p>\n\n\n\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg\" alt=\"\" class=\"wp-image-13994274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg\" alt=\"\" class=\"wp-image-13994272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">JT performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg\" alt=\"\" class=\"wp-image-13994277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Swedish House Mafia closes out the Pier Stage during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg\" alt=\"\" class=\"wp-image-13994297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Clearcast poses for a portrait back stage during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg\" alt=\"\" class=\"wp-image-13994271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Horsegiirl performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg\" alt=\"\" class=\"wp-image-13994282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd while JT performs during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg\" alt=\"\" class=\"wp-image-13994270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Four Tet performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg\" alt=\"\" class=\"wp-image-13994275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">SG Lewis performs during day two of Portola on Sunday Sept. 27, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg\" alt=\"\" class=\"wp-image-13994283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people gather to watch Zara Larsson perform during day two of Portola on Sunday Sept. 27, 2026.\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"slug": "portola-festival-review-robyn-tove-lo-six-sex",
"title": "Robyn Proved Saturday at Portola Was for the Girls",
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"headTitle": "Robyn Proved Saturday at Portola Was for the Girls | KQED",
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"content": "\n\u003cp>When it comes to expressing yearning in all its emotional hues, few artists have it as dialed in as Robyn.\u003c/p>\n\n\n\n\u003cp>“I used to be embarrassed that I could only write sad love songs. Like, get over it, get a life,” she told her massive crowd during her headlining set Saturday night at the \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in San Francisco. “But then I realized life is embarrassing, and I leaned into it.”\u003c/p>\n\n\n\n\n\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n\n\n\n\u003cp>And the crowd ate it up. For the fifth year of this annual electronic music festival, amid the hard techno and grimy dubstep, there was clearly a contingent who wanted to connect to storytelling and lyrics.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n\n\n\n\u003cp>At the end of the set, Robyn gave the audience what they were clearly waiting for. When the disco beat of “Call Your Girlfriend” filled the air, people looked on rapturously, maybe even a little misty-eyed, and belted their hearts out. They kept swaying — and \u003ca href=\"https://www.instagram.com/p/DdxtadMKQcP/\">singing\u003c/a> — as she gave it her all for “Dancing On My Own.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n\n\n\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Tove Lo Invited Everyone to Dance Out Their Heartbreak \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Tove Lo gave fans a solid, hour-long set of heartbreak bangers, mostly from her brand-new album \u003cem>Estrus \u003c/em>but also drawn from her catalog of 2010s hits. She set a mercurial tone for the show with the song “a lot of feelings, no solutions,” emerging in an all-black look with puffy feathered sleeves that looked like angel wings. With “I’m the cake,” she served snarky attitude with a kiss-off to a long-term lover who’s taking her for granted. She pulled the melancholy notes out of “des fleurs x stromae,” her duet with the deep-voiced French hitmaker Stromae. \u003c/p>\n\n\n\n\u003cp>There were moments of levity, too, when she introduced “source of life” with a gleeful proclamation: “It’s about pussy!” When she belted “Habits (Stay High),” her ubiquitous 2014 hit about drunkenly stumbling her way through post-breakup grief, the audience’s eyes shimmered with nostalgia as they screamed the lyrics and got their life. \u003c/p>\n\n\n\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg\" alt=\"\" class=\"wp-image-13994258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Melanie C performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg\" alt=\"\" class=\"wp-image-13994248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Soulwax performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg\" alt=\"\" class=\"wp-image-13994255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Fcukers perform at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg\" alt=\"\" class=\"wp-image-13994252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">DJ Shadow performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg\" alt=\"\" class=\"wp-image-13994254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg\" alt=\"\" class=\"wp-image-13994250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg\" alt=\"\" class=\"wp-image-13994262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>When it comes to expressing yearning in all its emotional hues, few artists have it as dialed in as Robyn.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I used to be embarrassed that I could only write sad love songs. Like, get over it, get a life,” she told her massive crowd during her headlining set Saturday night at the \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in San Francisco. “But then I realized life is embarrassing, and I leaned into it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n",
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"\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n"
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"innerHTML": "\n\u003cp>And the crowd ate it up. For the fifth year of this annual electronic music festival, amid the hard techno and grimy dubstep, there was clearly a contingent who wanted to connect to storytelling and lyrics.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\"/>\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n",
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"\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the end of the set, Robyn gave the audience what they were clearly waiting for. When the disco beat of “Call Your Girlfriend” filled the air, people looked on rapturously, maybe even a little misty-eyed, and belted their hearts out. They kept swaying — and \u003ca href=\"https://www.instagram.com/p/DdxtadMKQcP/\">singing\u003c/a> — as she gave it her all for “Dancing On My Own.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\"/>\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n",
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"\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n",
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"\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\"/>\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Tove Lo gave fans a solid, hour-long set of heartbreak bangers, mostly from her brand-new album \u003cem>Estrus \u003c/em>but also drawn from her catalog of 2010s hits. She set a mercurial tone for the show with the song “a lot of feelings, no solutions,” emerging in an all-black look with puffy feathered sleeves that looked like angel wings. With “I’m the cake,” she served snarky attitude with a kiss-off to a long-term lover who’s taking her for granted. She pulled the melancholy notes out of “des fleurs x stromae,” her duet with the deep-voiced French hitmaker Stromae. \u003c/p>\n",
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"innerHTML": "\n\u003cp>There were moments of levity, too, when she introduced “source of life” with a gleeful proclamation: “It’s about pussy!” When she belted “Habits (Stay High),” her ubiquitous 2014 hit about drunkenly stumbling her way through post-breakup grief, the audience’s eyes shimmered with nostalgia as they screamed the lyrics and got their life. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n",
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"excerpt": "With strong sets by Tove Lo and Six Sex, the electronic music festival honed in on cult pop acts. ",
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"title": "Portola Festival Review: Robyn Proved Saturday Was for the Girls | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>When it comes to expressing yearning in all its emotional hues, few artists have it as dialed in as Robyn.\u003c/p>\n\n\n\n\u003cp>“I used to be embarrassed that I could only write sad love songs. Like, get over it, get a life,” she told her massive crowd during her headlining set Saturday night at the \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in San Francisco. “But then I realized life is embarrassing, and I leaned into it.”\u003c/p>\n\n\n\n\n\n\u003cp>Robyn opened the set with the retro-futuristic synth pulse of her 2010 song “Fembot,” which flowed seamlessly into “Talk to Me,” her 2026 paean to phone sex. During “Hang With Me,” she turned reverent and prayerful, as if kneeling at the altar of the erotic, while she rolled on the ground and made love to the camera for tens of thousands of fans to see. \u003c/p>\n\n\n\n\u003cp>And the crowd ate it up. For the fifth year of this annual electronic music festival, amid the hard techno and grimy dubstep, there was clearly a contingent who wanted to connect to storytelling and lyrics.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg\" alt=\"\" class=\"wp-image-13994259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_046-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>People stood entranced as Robyn delivered a more stripped-down, melancholy version of “Honey,” her vocals confident and powerful, before changing out of her white mini-dress and into an oversized sequined T-shirt with bejeweled panties that gleamed beneath the lights. Exuding mature-woman sensuality, she sang about going out to clubs and feeling herself during a time in her life when she was trying to get pregnant on “Sexistential.”\u003c/p>\n\n\n\n\u003cp>At the end of the set, Robyn gave the audience what they were clearly waiting for. When the disco beat of “Call Your Girlfriend” filled the air, people looked on rapturously, maybe even a little misty-eyed, and belted their hearts out. They kept swaying — and \u003ca href=\"https://www.instagram.com/p/DdxtadMKQcP/\">singing\u003c/a> — as she gave it her all for “Dancing On My Own.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg\" alt=\"\" class=\"wp-image-13994249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_006-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Six Sex performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>All the way from Buenos Aires, Six Sex transformed the smaller Ship Tent at the harbor’s edge into a horny fever dream, with strobes flashing as the perreo-rave princess commanded a fist-pumping queer crowd with every gyration of her hips. While the opening kicks of “Ultra Terrorific Fantasy” vibrated the small but enthusiastic audience’s eardrums, she took the stage in a hentai-esque outfit, with cleavage, micro shorts, platform rave boots and pigtails with dramatically long extensions. \u003c/p>\n\n\n\n\u003cp>The bass and hard dance beats shook the crowd’s internal organs while Six Sex delivered cartoonishly coquettish X-rated lyrics with a bratty pout. (The two male ASL interpreters also deserve props for their particularly cunty enactments of her lyrics about group sex and gay boyfriends). As the set progressed, Six Sex had the audience wrapped around her finger, fist-pumping and jumping in ecstasy. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg\" alt=\"\" class=\"wp-image-13994251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Tove Lo performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Tove Lo Invited Everyone to Dance Out Their Heartbreak \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Tove Lo gave fans a solid, hour-long set of heartbreak bangers, mostly from her brand-new album \u003cem>Estrus \u003c/em>but also drawn from her catalog of 2010s hits. She set a mercurial tone for the show with the song “a lot of feelings, no solutions,” emerging in an all-black look with puffy feathered sleeves that looked like angel wings. With “I’m the cake,” she served snarky attitude with a kiss-off to a long-term lover who’s taking her for granted. She pulled the melancholy notes out of “des fleurs x stromae,” her duet with the deep-voiced French hitmaker Stromae. \u003c/p>\n\n\n\n\u003cp>There were moments of levity, too, when she introduced “source of life” with a gleeful proclamation: “It’s about pussy!” When she belted “Habits (Stay High),” her ubiquitous 2014 hit about drunkenly stumbling her way through post-breakup grief, the audience’s eyes shimmered with nostalgia as they screamed the lyrics and got their life. \u003c/p>\n\n\n\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg\" alt=\"\" class=\"wp-image-13994258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Melanie C performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg\" alt=\"\" class=\"wp-image-13994248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Soulwax performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg\" alt=\"\" class=\"wp-image-13994255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Fcukers perform at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg\" alt=\"\" class=\"wp-image-13994252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">DJ Shadow performs at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg\" alt=\"\" class=\"wp-image-13994254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg\" alt=\"\" class=\"wp-image-13994250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg\" alt=\"\" class=\"wp-image-13994262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd at the Portola Festival in San Francisco on Sept. 26, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"title": "Green Day’s Billie Joe Armstrong to Play Free Show in His Hometown of Rodeo",
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"content": "\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n\n\n\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n\n\n\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n\n\n\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n",
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"\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n",
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"\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n"
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"excerpt": "The frontman will perform cover songs with side project The Coverups at a free outdoor festival on Saturday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n\n\n\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n\n\n\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n\n\n\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Missing Portola? You Can Still Dance at These San Francisco Parties",
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"content": "\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Music Festival\u003c/a> returns to San Francisco’s Pier 80 on Sept. 26 and 27, showcasing the Bay’s dance and electronic music scene among a huge, international lineup that features Kelela, Zara Larsson, Swedish House Mafia and more. \u003c/p>\n\n\n\n\n\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Thursday, Sept. 24\u003c/h2>\n\n\n\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Friday, Sept. 25\u003c/h2>\n\n\n\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg\" alt=\"\" class=\"wp-image-13962494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Saturday, Sept. 26\u003c/h2>\n\n\n\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California. (Steve Granitz/FilmMagic)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n\n\n\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico. (Medios y Media/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Sunday, Sept. 27\u003c/h2>\n\n\n\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n\n\n\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n",
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"innerHTML": "\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n",
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"innerHTML": "\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n",
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"\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg\" alt=\"\" class=\"wp-image-13962494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n",
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"\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California.\u003ccite class=\"wp-inline-image-credit\"> (Steve Granitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\"/>\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California.\u003ccite class=\"wp-inline-image-credit\"> (Steve Granitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n",
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"\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n"
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"innerHTML": "\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n",
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"\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico.\u003ccite class=\"wp-inline-image-credit\"> (Medios y Media/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\"/>\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico.\u003ccite class=\"wp-inline-image-credit\"> (Medios y Media/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Sunday, Sept. 27",
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"innerHTML": "\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n",
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"\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n",
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"\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n"
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"excerpt": "The music festival coincides with Folsom Street Fair and a packed weekend of events at Bay Area clubs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Music Festival\u003c/a> returns to San Francisco’s Pier 80 on Sept. 26 and 27, showcasing the Bay’s dance and electronic music scene among a huge, international lineup that features Kelela, Zara Larsson, Swedish House Mafia and more. \u003c/p>\n\n\n\n\n\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Thursday, Sept. 24\u003c/h2>\n\n\n\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Friday, Sept. 25\u003c/h2>\n\n\n\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg\" alt=\"\" class=\"wp-image-13962494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Saturday, Sept. 26\u003c/h2>\n\n\n\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California. (Steve Granitz/FilmMagic)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n\n\n\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico. (Medios y Media/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Sunday, Sept. 27\u003c/h2>\n\n\n\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n\n\n\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-underscores-portola-charli-xcx",
"title": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour",
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"headTitle": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour | KQED",
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"content": "\n\u003cp>If you grew up in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> and are attuned to recent developments in left-field pop music, you might’ve done a double take when looking at the cover of rising artist \u003ca href=\"https://underscores.bandcamp.com/album/u\">Underscores\u003c/a>’ third album, \u003cem>U. \u003c/em>\u003c/p>\n\n\n\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-rich is-provider-bandcamp wp-block-embed-bandcamp\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://underscores.bandcamp.com/album/u\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n\n\n\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n\n\n\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n\n\n\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n\n\n\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/UNYqwpx7Cys?si=yuJ68UyVU0VrjX6P\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n\n\n\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/p/DdMdTG7Ef1v/?stkn=NjZiM2M3MzIxNA==\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n\n\n\n\n\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n\n\n\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n\n\n\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n\n\n\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n",
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"innerHTML": "\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n",
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"innerHTML": "\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n",
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"innerHTML": "\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n",
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"innerHTML": "\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n",
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"innerHTML": "\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n",
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"innerHTML": "\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you grew up in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> and are attuned to recent developments in left-field pop music, you might’ve done a double take when looking at the cover of rising artist \u003ca href=\"https://underscores.bandcamp.com/album/u\">Underscores\u003c/a>’ third album, \u003cem>U. \u003c/em>\u003c/p>\n\n\n\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-rich is-provider-bandcamp wp-block-embed-bandcamp\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://underscores.bandcamp.com/album/u\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n\n\n\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n\n\n\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n\n\n\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n\n\n\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UNYqwpx7Cys'\n title='//www.youtube.com/embed/UNYqwpx7Cys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n\n\n\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n\n\n\n\n\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n\n\n\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n\n\n\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n\n\n\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>Hip-hop legends OutKast have sued rising Bay Area rapper-producer \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">ovrkast.\u003c/a>, real name Silas Wilson, for trademark infringement because of similarities in their names, and are using Wilson’s own words from an interview as evidence. \u003c/p>\n\n\n\n\u003cp>OutKast filed the case in federal court in Georgia on Sept. 16, accusing Wilson of violating an agreement to phase out his use of the ovrkast. name. OutKast, the Atlanta duo composed of Big Boi (Antwan Patton) and André 3000 (André Benjamin), first sent Wilson a cease and desist in June 2025.\u003c/p>\n\n\n\n\n\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n\n\n\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n\n\n\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n\n\n\n\u003cp>Wilson didn’t return KQED’s request for comment, but he posted a screenshot of an article about the lawsuit from \u003ca href=\"https://allhiphop.com/news/exclusive-outkast-sues-ovrkast-after-rapper-admits-listeners-confuse-their-names/\">AllHipHop\u003c/a>, which first reported on the case. “I’m jus a young Back man trying to get ahead,” he wrote in the comments. \u003c/p>\n\n\n\n\u003cp>In their court filing, OutKast demanded a jury trial. It’s not the first time the duo has taken an artist to court over similar allegations: They sued EDM due ATLiens, whose name was inspired by OutKast’s 1996 album of the same title, and settled out of court earlier this year. \u003c/p>\n",
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"innerHTML": "\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n",
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"innerHTML": "\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n",
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"\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n"
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"innerHTML": "\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Wilson didn’t return KQED’s request for comment, but he posted a screenshot of an article about the lawsuit from \u003ca href=\"https://allhiphop.com/news/exclusive-outkast-sues-ovrkast-after-rapper-admits-listeners-confuse-their-names/\">AllHipHop\u003c/a>, which first reported on the case. “I’m jus a young Back man trying to get ahead,” he wrote in the comments. \u003c/p>\n",
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"innerHTML": "\n\u003cp>In their court filing, OutKast demanded a jury trial. It’s not the first time the duo has taken an artist to court over similar allegations: They sued EDM due ATLiens, whose name was inspired by OutKast’s 1996 album of the same title, and settled out of court earlier this year. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hip-hop legends OutKast have sued rising Bay Area rapper-producer \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">ovrkast.\u003c/a>, real name Silas Wilson, for trademark infringement because of similarities in their names, and are using Wilson’s own words from an interview as evidence. \u003c/p>\n\n\n\n\u003cp>OutKast filed the case in federal court in Georgia on Sept. 16, accusing Wilson of violating an agreement to phase out his use of the ovrkast. name. OutKast, the Atlanta duo composed of Big Boi (Antwan Patton) and André 3000 (André Benjamin), first sent Wilson a cease and desist in June 2025.\u003c/p>\n\n\n\n\n\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n\n\n\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n\n\n\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n\n\n\n\u003cp>Wilson didn’t return KQED’s request for comment, but he posted a screenshot of an article about the lawsuit from \u003ca href=\"https://allhiphop.com/news/exclusive-outkast-sues-ovrkast-after-rapper-admits-listeners-confuse-their-names/\">AllHipHop\u003c/a>, which first reported on the case. “I’m jus a young Back man trying to get ahead,” he wrote in the comments. \u003c/p>\n\n\n\n\u003cp>In their court filing, OutKast demanded a jury trial. It’s not the first time the duo has taken an artist to court over similar allegations: They sued EDM due ATLiens, whose name was inspired by OutKast’s 1996 album of the same title, and settled out of court earlier this year. \u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "elim-chan-adds-two-programs-sf-symphony",
"title": "Elim Chan Has Been Added to Two More Programs at SF Symphony This Season",
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"content": "\n\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> will have two more chances to see the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>‘s incoming music director conduct the orchestra this season. In addition to her scheduled October concerts, Chan will now conduct additional programs in January and June 2027.\u003c/p>\n\n\n\n\u003cp>“It is really important to me to be in San Francisco for a few additional weeks this season because we’re embarking on a very important new chapter together,” said Chan in a statement. “There is so much to do, and I cannot wait to get started.” \u003c/p>\n\n\n\n\u003cp>In the Bay Area, Chan has already amassed a fan club. This past June, shortly after being appointed as \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">the Symphony’s first-ever female music director\u003c/a>, Chan conducted a program of Wagner, Berlioz and Debussy that resulted in \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">standing ovations and a circle of selfie-seeking patrons of all ages\u003c/a> who gathered afterwards outside of Davies Symphony Hall.\u003c/p>\n\n\n\n\n\n\u003cp>On Jan. 14–16, Chan will conduct Noriko Koide’s \u003cem>Swaddling Silk and Gossamer Rain\u003c/em>, Mozart’s Sinfonia concertante and Elgar’s \u003cem>Enigma\u003c/em> Variations. The full program replaces one led by Conductor Laureate Herbert Blomstedt, who has withdrawn from the engagement on the advice of doctors. (The 99-year-old conductor \u003ca href=\"https://www.sfchronicle.com/entertainment/music/article/herbert-blomstedt-sf-symphony-22262627.php\">withdrew from a Mahler program in May\u003c/a> after one performance.)\u003c/p>\n\n\n\n\u003cp>On June 25–27, Chan will replace conductor Gustavo Gimeno, who has withdrawn to allow Chan to take the podium. The program includes Augusta Read Thomas’ \u003cem>Sunlight Echoes\u003c/em> with the San Francisco Symphony Chorus, Rachmaninoff’s Piano Concerto No. 3 performed by Yefim Bronfman and Prokofiev’s Symphony No. 5.\u003c/p>\n\n\n\n\u003cp>As previously announced, Chan will also conduct a program of John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony, Arvo Pärt’s \u003cem>Magnificat\u003c/em>, and pieces by Brahms and Mendelssohn on Oct. 29–31.\u003c/p>\n\n\n\n\u003cp>Chan’s inaugural season officially begins September 2027.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As previously announced, Chan will also conduct a program of John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony, Arvo Pärt’s \u003cem>Magnificat\u003c/em>, and pieces by Brahms and Mendelssohn on Oct. 29–31.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> will have two more chances to see the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>‘s incoming music director conduct the orchestra this season. In addition to her scheduled October concerts, Chan will now conduct additional programs in January and June 2027.\u003c/p>\n\n\n\n\u003cp>“It is really important to me to be in San Francisco for a few additional weeks this season because we’re embarking on a very important new chapter together,” said Chan in a statement. “There is so much to do, and I cannot wait to get started.” \u003c/p>\n\n\n\n\u003cp>In the Bay Area, Chan has already amassed a fan club. This past June, shortly after being appointed as \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">the Symphony’s first-ever female music director\u003c/a>, Chan conducted a program of Wagner, Berlioz and Debussy that resulted in \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">standing ovations and a circle of selfie-seeking patrons of all ages\u003c/a> who gathered afterwards outside of Davies Symphony Hall.\u003c/p>\n\n\n\n\n\n\u003cp>On Jan. 14–16, Chan will conduct Noriko Koide’s \u003cem>Swaddling Silk and Gossamer Rain\u003c/em>, Mozart’s Sinfonia concertante and Elgar’s \u003cem>Enigma\u003c/em> Variations. The full program replaces one led by Conductor Laureate Herbert Blomstedt, who has withdrawn from the engagement on the advice of doctors. (The 99-year-old conductor \u003ca href=\"https://www.sfchronicle.com/entertainment/music/article/herbert-blomstedt-sf-symphony-22262627.php\">withdrew from a Mahler program in May\u003c/a> after one performance.)\u003c/p>\n\n\n\n\u003cp>On June 25–27, Chan will replace conductor Gustavo Gimeno, who has withdrawn to allow Chan to take the podium. The program includes Augusta Read Thomas’ \u003cem>Sunlight Echoes\u003c/em> with the San Francisco Symphony Chorus, Rachmaninoff’s Piano Concerto No. 3 performed by Yefim Bronfman and Prokofiev’s Symphony No. 5.\u003c/p>\n\n\n\n\u003cp>As previously announced, Chan will also conduct a program of John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony, Arvo Pärt’s \u003cem>Magnificat\u003c/em>, and pieces by Brahms and Mendelssohn on Oct. 29–31.\u003c/p>\n\n\n\n\u003cp>Chan’s inaugural season officially begins September 2027.\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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