window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13994279": {
"type": "attachments",
"id": "arts_13994279",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13994279",
"found": true
},
"title": "tubong1001",
"publishDate": 1790616155,
"status": "inherit",
"parent": 0,
"modified": 1790616253,
"caption": "Adéla performs during day two of Portola on Sunday Sept. 27, 2026.",
"credit": "Estefany Gonzalez for KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-768x511.jpg",
"width": 768,
"height": 511,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-1536x1023.jpg",
"width": 1536,
"height": 1023,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_007.jpg",
"width": 2000,
"height": 1332
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13994260": {
"type": "attachments",
"id": "arts_13994260",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13994260",
"found": true
},
"title": "20260926_PortolaDay1_EG_047",
"publishDate": 1790534004,
"status": "inherit",
"parent": 0,
"modified": 1790534269,
"caption": "Robyn performs at the Portola Festival in San Francisco on Sept. 26, 2026. ",
"credit": "Estefany Gonzalez for KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_047.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13965813": {
"type": "attachments",
"id": "arts_13965813",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13965813",
"found": true
},
"title": "Portola Day 2",
"publishDate": 1727692736,
"status": "inherit",
"parent": 0,
"modified": 1727692924,
"caption": "Festival attendees dance late into the night as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024.",
"credit": "Estefany Gonzalez for KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_77.jpg",
"width": 1920,
"height": 1280
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13994131": {
"type": "attachments",
"id": "arts_13994131",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13994131",
"found": true
},
"title": "DEV 2 Bailey F Krawczyk (1)",
"publishDate": 1790185751,
"status": "inherit",
"parent": 13994097,
"modified": 1790185814,
"caption": "Underscores. ",
"credit": "Bailey F. Krawczyk",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-2000x1333.png",
"width": 2000,
"height": 1333,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-2000x1333.png",
"width": 2000,
"height": 1333,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-768x512.png",
"width": 768,
"height": 512,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-1536x1024.png",
"width": 1536,
"height": 1024,
"mimeType": "image/png"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-2048x1365.png",
"width": 2048,
"height": 1365,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-2000x1333.png",
"width": 2000,
"height": 1333,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-600x600.png",
"width": 600,
"height": 600,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/DEV-2-Bailey-F-Krawczyk-1-scaled.png",
"width": 2560,
"height": 1707
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13961382": {
"type": "attachments",
"id": "arts_13961382",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13961382",
"found": true
},
"title": "SFArtsBook.MAIN",
"publishDate": 1721413970,
"status": "inherit",
"parent": 0,
"modified": 1764896861,
"caption": "The crowd at the 2024 SF Art Book Fair.",
"credit": "Gabe Meline/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SFArtsBook.MAIN_.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13991153": {
"type": "attachments",
"id": "arts_13991153",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13991153",
"found": true
},
"title": "IMG_20260625_125806-scaled",
"publishDate": 1782757670,
"status": "inherit",
"parent": 13991008,
"modified": 1782760818,
"caption": "San José's Kaleena Zanders, pictured at Outside Lands in San Francisco’s Golden Gate Park in 2024, is on the rise as a dance music vocalist and DJ. ",
"credit": "Courtesy Harp Digital Media",
"altTag": "A woman in a heat and glasses taking a candid photo while resting on a fence outside.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125806-scaled-1.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13981615": {
"type": "attachments",
"id": "arts_13981615",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13981615",
"found": true
},
"title": "250920_Portola_day1_GH-2_qed",
"publishDate": 1758565739,
"status": "inherit",
"parent": 13981607,
"modified": 1780003904,
"caption": "The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.",
"credit": "Gustavo Hernandez/KQED",
"altTag": "large crowd cheers, shipping cranes in background",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13989291": {
"type": "attachments",
"id": "arts_13989291",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13989291",
"found": true
},
"title": "4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse",
"publishDate": 1778182180,
"status": "inherit",
"parent": 0,
"modified": 1778182408,
"caption": "DJ Mark Farina, left, DJing with Homero Espinosa. Farina's ‘Mushroom Jazz’ series remains a bedrock of the San Francisco electronic music label Om Records, which is celebrated Saturday at a giant block party in Embarcadero Plaza.",
"credit": "Dirk Wyse",
"altTag": "Two men in their 30s-40s stand at a DJ table, against a fuzzy background of horizontal green lighting",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13988155": {
"type": "attachments",
"id": "arts_13988155",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13988155",
"found": true
},
"title": "032726PROGRAMAUDIO_GH_040-KQED",
"publishDate": 1775059392,
"status": "inherit",
"parent": 0,
"modified": 1775070227,
"caption": "DJ Tom Marsi performs inside Program Audio’s kiosk during a livestreamed set in San Francisco, March 27, 2026.",
"credit": "Gustavo Hernandez/KQED",
"altTag": "person seen through window inside hut",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_040-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13984261": {
"type": "attachments",
"id": "arts_13984261",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984261",
"found": true
},
"title": "best bay area albums 2025",
"publishDate": 1764619559,
"status": "inherit",
"parent": 13984148,
"modified": 1764619822,
"caption": "Michael Sneed's 'floaters at the buzzer!', Jane Handcock's 'It's Me, Not You' and Spiritual Cramp's 'Rude' are three of KQED's favorite Bay Area albums of 2025.",
"credit": "Courtesy of the artists",
"altTag": "A collage of three album covers. On the left is an illustration of Michael Sneed dunking a basketball. In the center is a vintage-looking photo of Jane Handcock in a studio. On the right is a blurred shot of Spiritual Cramp in front of San Francisco City Hall.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/best-bay-area-albums-2025-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/best-bay-area-albums-2025-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/best-bay-area-albums-2025-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/best-bay-area-albums-2025-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/best-bay-area-albums-2025-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/best-bay-area-albums-2025.jpg",
"width": 1497,
"height": 842
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13984002": {
"type": "attachments",
"id": "arts_13984002",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984002",
"found": true
},
"title": "IMG_3685",
"publishDate": 1763754820,
"status": "inherit",
"parent": 13983997,
"modified": 1763754999,
"caption": "Tyler Reese and Daghe embraced a playful, dance floor-ready sound on their collaborative EP, 'WHTVR.'",
"credit": "Rossy Angelo ",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685-160x90.png",
"width": 160,
"height": 90,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685-768x432.png",
"width": 768,
"height": 432,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685-1536x864.png",
"width": 1536,
"height": 864,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3685.png",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13981565": {
"type": "attachments",
"id": "arts_13981565",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13981565",
"found": true
},
"title": "250920_PORTOLA_DAY1_GH-15-KQED",
"publishDate": 1758559074,
"status": "inherit",
"parent": 0,
"modified": 1758560132,
"caption": "Sam Carlos, attending his second Portola Festival, dresses as a sunflower at the Pier Stage during the first day of the event at Pier 80 in San Francisco on Sept. 20, 2025.",
"credit": "Gustavo Hernandez/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-15-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-15-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-15-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-15-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-15-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-15-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13994097": {
"type": "authors",
"id": "byline_arts_13994097",
"meta": {
"override": true
},
"slug": "byline_arts_13994097",
"name": "Daniel Bromfield",
"isLoading": false
},
"byline_arts_13989281": {
"type": "authors",
"id": "byline_arts_13989281",
"meta": {
"override": true
},
"slug": "byline_arts_13989281",
"name": "Adrian Spinelli",
"isLoading": false
},
"byline_arts_13984148": {
"type": "authors",
"id": "byline_arts_13984148",
"meta": {
"override": true
},
"slug": "byline_arts_13984148",
"name": "KQED Arts & Culture",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"jmelido": {
"type": "authors",
"id": "11972",
"meta": {
"index": "authors_1716337520",
"id": "11972",
"found": true
},
"name": "Janea Melido",
"firstName": "Janea",
"lastName": "Melido",
"slug": "jmelido",
"email": "jmelido@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Contributor, KQED Arts & Culture",
"bio": "Janea Melido holds a Bachelor of Arts in English and minor in Ethnic Studies from the University of Portland. She's drawn to the quiet power of everyday stories, especially ones that often go overlooked. When she's not reporting, she enjoys cutting up her old print stories and making collages out of them. She served as an intern for KQED Arts & Culture in 2025–26.",
"avatar": "https://secure.gravatar.com/avatar/a29821c5951064ade16b01245ce4604a599e1d4609df1ff590a8de6c7728826a?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Janea Melido | KQED",
"description": "Contributor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/a29821c5951064ade16b01245ce4604a599e1d4609df1ff590a8de6c7728826a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/a29821c5951064ade16b01245ce4604a599e1d4609df1ff590a8de6c7728826a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jmelido"
},
"ncoats": {
"type": "authors",
"id": "12013",
"meta": {
"index": "authors_1716337520",
"id": "12013",
"found": true
},
"name": "Nia Coats",
"firstName": "Nia",
"lastName": "Coats",
"slug": "ncoats",
"email": "ncoats@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Intern, KQED Arts & Culture",
"bio": "Nia Coats is KQED Arts & Culture's editorial intern. As a recent Berkeley School of Journalism graduate, she has covered arts and culture in the Bay Area and nationwide since 2021. She has a great love for music and the ways it soundtracks our lives. When she isn't reporting or writing, Nia is going to concerts, watching movies and working on her magazine, \u003cem>Lucky 7\u003c/em>.",
"avatar": "https://secure.gravatar.com/avatar/5603dfcf7b25a681fd9fcc1f691ee510bd6a2fdbb37b425d337245b9e330e449?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nia Coats | KQED",
"description": "Intern, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5603dfcf7b25a681fd9fcc1f691ee510bd6a2fdbb37b425d337245b9e330e449?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5603dfcf7b25a681fd9fcc1f691ee510bd6a2fdbb37b425d337245b9e330e449?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ncoats"
}
},
"pagesReducer": {
"arts_tag_electronic-music": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"score": 9.895092
},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"title": "electronic music",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=electronic-music",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13994268": {
"type": "posts",
"id": "arts_13994268",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13994268",
"score": null,
"sort": [
1790617332000
]
},
"guestAuthors": [],
"slug": "portola-review-sunday-zara-larsson-adela-kelela",
"title": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday",
"publishDate": 1790617332,
"format": "standard",
"headTitle": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994278,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Adéla 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_006.jpg\" alt=\"\" class=\"wp-image-13994278\"/>\u003cfigcaption class=\"wp-element-caption\">Adéla 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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://www.instagram.com/p/Dd0QWRGKUZw/",
"type": "rich",
"providerNameSlug": "instagram",
"responsive": true,
"allowResponsive": true,
"previewable": true
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": [],
"resolvedEmbed": "\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-permalink=\"https://www.instagram.com/reel/Dd0QWRGKUZw/?utm_source=ig_embed&utm_campaign=loading\" data-instgrm-version=\"14\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:640px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\u003cdiv style=\"padding:16px;\"> \u003ca href=\"https://www.instagram.com/reel/Dd0QWRGKUZw/?utm_source=ig_embed&utm_campaign=loading\" style=\" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;\" target=\"_blank\"> \u003cdiv style=\" display: flex; flex-direction: row; align-items: center;\"> \u003cdiv style=\"background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;\">\u003c/div> \u003cdiv style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center;\"> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;\">\u003c/div> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;\">\u003c/div>\u003c/div>\u003c/div>\u003cdiv style=\"padding: 19% 0;\">\u003c/div> \u003cdiv style=\"display:block; height:50px; margin:0 auto 12px; width:50px;\">\u003csvg width=\"50px\" height=\"50px\" viewBox=\"0 0 60 60\" version=\"1.1\" xmlns=\"https://www.w3.org/2000/svg\" xmlns:xlink=\"https://www.w3.org/1999/xlink\">\u003cg stroke=\"none\" stroke-width=\"1\" fill=\"none\" fill-rule=\"evenodd\">\u003cg transform=\"translate(-511.000000, -20.000000)\" fill=\"#000000\">\u003cg>\u003cpath d=\"M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631\">\u003c/path>\u003c/g>\u003c/g>\u003c/g>\u003c/svg>\u003c/div>\u003cdiv style=\"padding-top: 8px;\"> \u003cdiv style=\" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;\">View this post on Instagram\u003c/div>\u003c/div>\u003cdiv style=\"padding: 12.5% 0;\">\u003c/div> \u003cdiv style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\u003cdiv> \u003cdiv style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\">\u003c/div> \u003cdiv style=\"background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\">\u003c/div> \u003cdiv style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\">\u003c/div>\u003c/div>\u003cdiv style=\"margin-left: 8px;\"> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\">\u003c/div> \u003cdiv style=\" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)\">\u003c/div>\u003c/div>\u003cdiv style=\"margin-left: auto;\"> \u003cdiv style=\" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\">\u003c/div> \u003cdiv style=\" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\">\u003c/div> \u003cdiv style=\" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\">\u003c/div>\u003c/div>\u003c/div> \u003cdiv style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\"> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\">\u003c/div> \u003cdiv style=\" background-color: #F4F4F4; 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>"
},
{
"blockName": "core/heading",
"attrs": {
"text": "Zara Larsson dominated the main stage ",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Zara Larsson dominated the main stage \u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Zara Larsson dominated the main stage \u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "kqed-v2/related-articles",
"attrs": {
"postIds": [
"arts_13994245"
],
"labelWasCleared": true,
"query": "",
"label": "",
"maxPosts": 3,
"showImages": true,
"heroImage": "",
"heroImageAlt": "",
"heroImageLink": "",
"labelLink": "",
"alignment": "right",
"target": "_self",
"manualLinks": [],
"posts": []
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994273,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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)"
},
"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",
"innerContent": [
"\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\"/>\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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Under a full moon, Kelela did it all",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Under a full moon, Kelela did it all\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">Under a full moon, Kelela did it all\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>\u003cstrong>More photos below.\u003c/strong>\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994274,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Channel Tres 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_003.jpg\" alt=\"\" class=\"wp-image-13994274\"/>\u003cfigcaption class=\"wp-element-caption\">Channel Tres 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994272,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">JT 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_57.jpg\" alt=\"\" class=\"wp-image-13994272\"/>\u003cfigcaption class=\"wp-element-caption\">JT 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994277,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Swedish House Mafia closes out the Pier Stage 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_50.jpg\" alt=\"\" class=\"wp-image-13994277\"/>\u003cfigcaption class=\"wp-element-caption\">Swedish House Mafia closes out the Pier Stage 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994297,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_002.jpg\" alt=\"\" class=\"wp-image-13994297\"/>\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994271,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Horsegiirl 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_45.jpg\" alt=\"\" class=\"wp-image-13994271\"/>\u003cfigcaption class=\"wp-element-caption\">Horsegiirl 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994282,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_55.jpg\" alt=\"\" class=\"wp-image-13994282\"/>\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994270,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Four Tet 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_63.jpg\" alt=\"\" class=\"wp-image-13994270\"/>\u003cfigcaption class=\"wp-element-caption\">Four Tet 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994275,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">SG Lewis 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_022.jpg\" alt=\"\" class=\"wp-image-13994275\"/>\u003cfigcaption class=\"wp-element-caption\">SG Lewis 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994283,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260927_PortolaDay2_EG_38.jpg\" alt=\"\" class=\"wp-image-13994283\"/>\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"
],
"innerBlocks": []
}
],
"excerpt": "Pop princesses mixed with indie sleaze acts and hot electronic R&B on Portola‘s second day. ",
"status": "publish",
"parent": 0,
"modified": 1790622098,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 934
},
"headData": {
"title": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday | KQED",
"description": "Pop princesses mixed with indie sleaze acts and hot electronic R&B on Portola‘s second day. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Zara Larsson and Adéla Turned Up the Sexy Vibe at Portola on Sunday",
"datePublished": "2026-09-28T10:42:12-07:00",
"dateModified": "2026-09-28T12:01:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13994268",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/Dd0QWRGKUZw/"
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13994268/portola-review-sunday-zara-larsson-adela-kelela",
"authors": [
"12013"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_22068",
"arts_6012",
"arts_22333",
"arts_1146"
],
"featImg": "arts_13994279",
"label": "arts"
},
"arts_13994245": {
"type": "posts",
"id": "arts_13994245",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13994245",
"score": null,
"sort": [
1790535077000
]
},
"guestAuthors": [],
"slug": "portola-festival-review-robyn-tove-lo-six-sex",
"title": "Robyn Proved Saturday at Portola Was for the Girls",
"publishDate": 1790535077,
"format": "standard",
"headTitle": "Robyn Proved Saturday at Portola Was for the Girls | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "kqed-v2/related-articles",
"attrs": {
"postIds": [
"arts_13994097"
],
"labelWasCleared": true,
"query": "",
"label": "",
"maxPosts": 3,
"showImages": true,
"heroImage": "",
"heroImageAlt": "",
"heroImageLink": "",
"labelLink": "",
"alignment": "right",
"target": "_self",
"manualLinks": [],
"posts": []
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994259,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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)"
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994249,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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)"
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy\u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Six Sex, the Perreo-Rave Princess, Brought Campy Queer Joy\u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994251,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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)"
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Tove Lo Invited Everyone to Dance Out Their Heartbreak ",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Tove Lo Invited Everyone to Dance Out Their Heartbreak \u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Tove Lo Invited Everyone to Dance Out Their Heartbreak \u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994258,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Melanie C 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_065.jpg\" alt=\"\" class=\"wp-image-13994258\"/>\u003cfigcaption class=\"wp-element-caption\">Melanie C 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994248,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Soulwax 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_070.jpg\" alt=\"\" class=\"wp-image-13994248\"/>\u003cfigcaption class=\"wp-element-caption\">Soulwax 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994255,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Fcukers perform 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_008.jpg\" alt=\"\" class=\"wp-image-13994255\"/>\u003cfigcaption class=\"wp-element-caption\">Fcukers perform 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994252,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">DJ Shadow 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_035.jpg\" alt=\"\" class=\"wp-image-13994252\"/>\u003cfigcaption class=\"wp-element-caption\">DJ Shadow 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994254,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The crowd 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_055.jpg\" alt=\"\" class=\"wp-image-13994254\"/>\u003cfigcaption class=\"wp-element-caption\">The crowd 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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994250,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_053.jpg\" alt=\"\" class=\"wp-image-13994250\"/>\u003cfigcaption class=\"wp-element-caption\">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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994262,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"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": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"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_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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The crowd 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",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260926_PortolaDay1_EG_056.jpg\" alt=\"\" class=\"wp-image-13994262\"/>\u003cfigcaption class=\"wp-element-caption\">The crowd 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"
],
"innerBlocks": []
}
],
"excerpt": "With strong sets by Tove Lo and Six Sex, the electronic music festival honed in on cult pop acts. ",
"status": "publish",
"parent": 0,
"modified": 1790618604,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 805
},
"headData": {
"title": "Portola Festival Review: Robyn Proved Saturday Was for the Girls | KQED",
"description": "With strong sets by Tove Lo and Six Sex, the electronic music festival honed in on cult pop acts. ",
"ogTitle": "Robyn Proved Saturday at Portola Was for the Girls",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Robyn Proved Saturday at Portola Was for the Girls",
"twDescription": "",
"twImgId": "",
"socialTitle": "Portola Festival Review: Robyn Proved Saturday Was for the Girls %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Robyn Proved Saturday at Portola Was for the Girls",
"datePublished": "2026-09-27T11:51:17-07:00",
"dateModified": "2026-09-28T11:03:24-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13994245",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13994245/portola-festival-review-robyn-tove-lo-six-sex",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_22068",
"arts_6012",
"arts_22333",
"arts_769",
"arts_1146"
],
"featImg": "arts_13994260",
"label": "arts"
},
"arts_13994137": {
"type": "posts",
"id": "arts_13994137",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13994137",
"score": null,
"sort": [
1790191152000
]
},
"guestAuthors": [],
"slug": "portola-week-san-francisco-oakland-electronic-music-parties-events",
"title": "Missing Portola? You Can Still Dance at These San Francisco Parties",
"publishDate": 1790191152,
"format": "standard",
"headTitle": "Missing Portola? You Can Still Dance at These San Francisco Parties | KQED",
"labelTerm": {},
"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",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "kqed-v2/related-articles",
"attrs": {
"postIds": [
"arts_13994097",
"news_12097837",
"arts_13988094"
],
"label": "More Music Coverage",
"query": "",
"labelWasCleared": false,
"maxPosts": 3,
"showImages": true,
"heroImage": "",
"heroImageAlt": "",
"heroImageLink": "",
"labelLink": "",
"alignment": "right",
"target": "_self",
"manualLinks": [],
"posts": []
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Thursday, Sept. 24",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Thursday, Sept. 24\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">Thursday, Sept. 24\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Friday, Sept. 25",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Friday, Sept. 25\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">Friday, Sept. 25\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13962494,
"sizeSlug": "full",
"linkDestination": "none",
"align": "center",
"alt": "",
"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)"
},
"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",
"innerContent": [
"\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\"/>\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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Saturday, Sept. 26",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Saturday, Sept. 26\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">Saturday, Sept. 26\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994141,
"sizeSlug": "full",
"linkDestination": "none",
"align": "center",
"alt": "",
"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)"
},
"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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13994142,
"sizeSlug": "full",
"linkDestination": "none",
"align": "center",
"alt": "",
"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)"
},
"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"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Sunday, Sept. 27",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Sunday, Sept. 27\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">Sunday, Sept. 27\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
}
],
"excerpt": "The music festival coincides with Folsom Street Fair and a packed weekend of events at Bay Area clubs.",
"status": "publish",
"parent": 0,
"modified": 1790191161,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 616
},
"headData": {
"title": "Missing Portola? You Can Still Dance at These San Francisco Parties | KQED",
"description": "The music festival coincides with Folsom Street Fair and a packed weekend of events at Bay Area clubs.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Missing Portola? You Can Still Dance at These San Francisco Parties",
"datePublished": "2026-09-23T12:19:12-07:00",
"dateModified": "2026-09-23T12:19:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13994137",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13994137/portola-week-san-francisco-oakland-electronic-music-parties-events",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13994137/portola-week-san-francisco-oakland-electronic-music-parties-events",
"authors": [
"12013"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1501",
"arts_10278"
],
"featImg": "arts_13965813",
"label": "source_arts_13994137"
},
"arts_13994097": {
"type": "posts",
"id": "arts_13994097",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13994097",
"score": null,
"sort": [
1790187967000
]
},
"guestAuthors": [],
"slug": "san-francisco-underscores-portola-charli-xcx",
"title": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour",
"publishDate": 1790187967,
"format": "standard",
"headTitle": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour | KQED",
"labelTerm": {},
"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",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://underscores.bandcamp.com/album/u",
"type": "rich",
"providerNameSlug": "bandcamp",
"align": "center",
"allowResponsive": true,
"responsive": false,
"previewable": true
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": [],
"resolvedEmbed": "\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/v=2/album=3838024126/size=large/tracklist=false/artwork=small/\" seamless loading=\"lazy\" title=\"U, by underscores\">\u003c/iframe>"
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://youtu.be/UNYqwpx7Cys?si=yuJ68UyVU0VrjX6P",
"type": "video",
"providerNameSlug": "youtube",
"responsive": true,
"align": "center",
"className": "wp-embed-aspect-4-3 wp-has-aspect-ratio",
"allowResponsive": true,
"previewable": true
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://www.instagram.com/p/DdMdTG7Ef1v/?stkn=NjZiM2M3MzIxNA==",
"type": "rich",
"providerNameSlug": "instagram",
"responsive": true,
"allowResponsive": true,
"previewable": true
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": [],
"resolvedEmbed": "\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-permalink=\"https://www.instagram.com/p/DdMdTG7Ef1v/?utm_source=ig_embed&utm_campaign=loading\" data-instgrm-version=\"14\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:640px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\u003cdiv style=\"padding:16px;\"> \u003ca href=\"https://www.instagram.com/p/DdMdTG7Ef1v/?utm_source=ig_embed&utm_campaign=loading\" style=\" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;\" target=\"_blank\"> \u003cdiv style=\" display: flex; flex-direction: row; align-items: center;\"> \u003cdiv style=\"background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;\">\u003c/div> \u003cdiv style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center;\"> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;\">\u003c/div> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;\">\u003c/div>\u003c/div>\u003c/div>\u003cdiv style=\"padding: 19% 0;\">\u003c/div> \u003cdiv style=\"display:block; height:50px; margin:0 auto 12px; width:50px;\">\u003csvg width=\"50px\" height=\"50px\" viewBox=\"0 0 60 60\" version=\"1.1\" xmlns=\"https://www.w3.org/2000/svg\" xmlns:xlink=\"https://www.w3.org/1999/xlink\">\u003cg stroke=\"none\" stroke-width=\"1\" fill=\"none\" fill-rule=\"evenodd\">\u003cg transform=\"translate(-511.000000, -20.000000)\" fill=\"#000000\">\u003cg>\u003cpath d=\"M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631\">\u003c/path>\u003c/g>\u003c/g>\u003c/g>\u003c/svg>\u003c/div>\u003cdiv style=\"padding-top: 8px;\"> \u003cdiv style=\" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;\">View this post on Instagram\u003c/div>\u003c/div>\u003cdiv style=\"padding: 12.5% 0;\">\u003c/div> \u003cdiv style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\u003cdiv> \u003cdiv style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\">\u003c/div> \u003cdiv style=\"background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\">\u003c/div> \u003cdiv style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\">\u003c/div>\u003c/div>\u003cdiv style=\"margin-left: 8px;\"> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\">\u003c/div> \u003cdiv style=\" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)\">\u003c/div>\u003c/div>\u003cdiv style=\"margin-left: auto;\"> \u003cdiv style=\" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\">\u003c/div> \u003cdiv style=\" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\">\u003c/div> \u003cdiv style=\" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\">\u003c/div>\u003c/div>\u003c/div> \u003cdiv style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\"> \u003cdiv style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\">\u003c/div> \u003cdiv style=\" background-color: #F4F4F4; 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>"
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "kqed-v2/related-articles",
"attrs": {
"postIds": [
"news_12097837",
"arts_13994089",
"arts_13993917"
],
"label": "More Music Coverage",
"query": "",
"labelWasCleared": false,
"maxPosts": 3,
"showImages": true,
"heroImage": "",
"heroImageAlt": "",
"heroImageLink": "",
"labelLink": "",
"alignment": "right",
"target": "_self",
"manualLinks": [],
"posts": []
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3",
"type": "video",
"providerNameSlug": "youtube",
"responsive": true,
"className": "wp-embed-aspect-16-9 wp-has-aspect-ratio",
"allowResponsive": true,
"previewable": true
},
"innerHTML": "\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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": {
"opacity": "alpha-channel",
"tagName": "hr"
},
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"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",
"innerContent": [
"\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"
],
"innerBlocks": []
}
],
"excerpt": "The hyperpop artist blew up this year with an album inspired by the Stonestown Galleria. ",
"status": "publish",
"parent": 0,
"modified": 1790187977,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1690
},
"headData": {
"title": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour | KQED",
"description": "The hyperpop artist blew up this year with an album inspired by the Stonestown Galleria. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour",
"datePublished": "2026-09-23T11:26:07-07:00",
"dateModified": "2026-09-23T11:26:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Daniel Bromfield",
"nprStoryId": "kqed-13994097",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13994097/san-francisco-underscores-portola-charli-xcx",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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. 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\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/DdMdTG7Ef1v/?stkn=NjZiM2M3MzIxNA=="
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13994097/san-francisco-underscores-portola-charli-xcx",
"authors": [
"byline_arts_13994097"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_22333",
"arts_1146"
],
"featImg": "arts_13994131",
"label": "source_arts_13994097"
},
"arts_13991955": {
"type": "posts",
"id": "arts_13991955",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13991955",
"score": null,
"sort": [
1784848620000
]
},
"guestAuthors": [],
"slug": "sf-art-book-fair-susan-omalley-daria-loard-2026",
"title": "There’s a Zillion Things to See at the SF Art Book Fair",
"publishDate": 1784848620,
"format": "standard",
"headTitle": "There’s a Zillion Things to See at the SF Art Book Fair | KQED",
"labelTerm": {},
"content": "\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n\n\n\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1586\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w\" sizes=\"auto, (max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n\n\n\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"609\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP. (Cone Shape Top)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n\n\n\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n\n\n\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n\n\n\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n\n\n\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n",
"innerContent": [
"\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991958,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Susan O’Malley/Chronicle Books",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\"/>\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n",
"innerContent": [
"\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991957,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Susan O’Malley/Chronicle Books",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\"/>\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n",
"innerContent": [
"\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n",
"innerContent": [
"\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991959,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Cone Shape Top",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\"/>\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n",
"innerContent": [
"\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": [],
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "A major publisher’s Susan O’Malley retrospective, Daria Lourd’s new DIY 12\" record, and much, much more.",
"status": "publish",
"parent": 0,
"modified": 1784930505,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 849
},
"headData": {
"title": "There’s a Zillion Things to See at the SF Art Book Fair | KQED",
"description": "A major publisher’s Susan O’Malley retrospective, Daria Lourd’s new DIY 12" record, and much, much more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There’s a Zillion Things to See at the SF Art Book Fair",
"datePublished": "2026-07-23T16:17:00-07:00",
"dateModified": "2026-07-24T15:01:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13991955",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13991955/sf-art-book-fair-susan-omalley-daria-loard-2026",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The SF Art Book Fair can be a little overwhelming. Books, \u003ca href=\"https://www.kqed.org/arts/tag/zines\">zines\u003c/a>, stickers and prints blanket folding tables as far as the eye can see, if one is not looking instead at a giant crowd of people. As the annual event takes over the \u003ca href=\"https://www.kqed.org/arts/tag/minnesota-street-project\">Minnesota Street Project\u003c/a> this weekend, two of the literal thousands of items for sale illustrate the diversity of the fair’s wares.\u003c/p>\n\n\n\n\u003cp>One is a major publisher’s retrospective of a well-known artist. Christina Amini’s \u003cem>It Will Be More Beautiful Than You Could Ever Imagine\u003c/em>, published by \u003ca href=\"https://www.kqed.org/arts/13401706/born-in-the-summer-of-love-chronicle-books-celebrates-50-years\">Chronicle Books\u003c/a>, spans the life and work of \u003ca href=\"https://www.kqed.org/arts/10436300/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015\">Susan O’Malley\u003c/a>. The average person may mostly know O’Malley from her inspirational phrases presented on colorful backgrounds, thanks to very public displays (along Market Street, at the San Francisco Museum of Modern Art) of her series \u003cem>Advice From My 80 Year-Old Self\u003c/em>. Indeed, one of these is the book’s cover.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1586\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg\" alt=\"\" class=\"wp-image-13991958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover.jpg 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-768x968.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/It-Will-Be-More-Beautiful-Than-You-Could-Ever-Imagine-front-cover-1218x1536.jpg 1218w\" sizes=\"auto, (max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-element-caption\">‘It Will Be More Beautiful Than You Could Ever Imagine,’ by Christina Amini. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But as \u003cem>It Will Be More Beautiful\u003c/em> makes clear, over the course of 23 essays by friends and colleagues, O’Malley’s life work was so much more than uplifting, corporate breakroom-ready signage. Optimism was a constant for O’Malley, but, as just one example, it took the form of rearranging items on people’s lawns in her well-off San José neighborhood to make the world a little more interesting. \u003c/p>\n\n\n\n\u003cp>Organizing a “Pep Talk Squad.” Listening to grandmothers. Sending files to a photocopy store in Houston to print and hang in the front window. These projects of O’Malley’s fell under the then-newish rubric of social practice, which centers the surrounding environment and its people, and which O’Malley furthered in her work as one of the first graduates of the Social Practice program at CCA.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"609\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg\" alt=\"\" class=\"wp-image-13991957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Omalley.Msgs_-768x468.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-element-caption\">‘What Is Your Secret Hope and Dream?,’ a 2004–05 project for which Susan O’Malley asked participants to write down their secret hopes and dreams, and then photograph her holding them. (Susan O’Malley/Chronicle Books)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A sad coda from the present day is that CCA is now shutting down, and \u003ca href=\"https://www.kqed.org/arts/13991866/cca-vanderbilt-nvidia-jensen-huang-new-art-school\">the seventh-wealthiest man in the world has just pledged millions\u003c/a> toward a plan to replace the school with one geared toward art, design, AI and technology. It’s safe to say that O’Malley’s work, which has been revered, and inspired similar projects around the world, would find no home there. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If a new visual artist working in an untraversed field like O’Malley were to come along in 2026, their work would find a suitable soundtrack in the electronic music of \u003ca href=\"https://boredlord.bandcamp.com/\">Daria Lourd\u003c/a>. The Oakland-based producer’s work may be more obscure than O’Malley’s, both in visibility and method, but it’s just as welcoming for those open to its embrace.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg\" alt=\"\" class=\"wp-image-13991959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DariaLoard-600x600.jpg 600w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-element-caption\">Daria Lourd’s ‘Spiritual Surveillance’ EP. (Cone Shape Top)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Released in an edition of 100 at the SF Art Book Fair, Lourd’s new 12” EP, \u003cem>\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance\u003c/a>\u003c/em>, conjures very human scenes. Opener “Backburner” cuts up synths over a bugged-out beat, as if someone handed the Invisibl Skratch Piklz an Enya record mid-set. “I Wasn’t Invited” is the sound of new age composer Ray Lynch and a Motown bassist hopping onstage during a 2000s London warehouse party.\u003c/p>\n\n\n\n\u003cp>The EP, complete with a hand-sewn fabric cover, marks an evolution for Lourd, who’s releasing \u003cem>Spiritual Surveillance\u003c/em> under her own name instead of her longtime moniker Bored Lord. Marking 10 years of living in Oakland after an upbringing in Memphis, it’s also the latest in a discography spanning more than two dozen releases, including the exhilarating EP \u003cem>For The New Moon On November 30th 2024\u003c/em>. \u003c/p>\n\n\n\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=496891789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1794945397/transparent=true/\" seamless=\"\">\u003ca href=\"https://boredlord.bandcamp.com/album/spiritual-surveillance\">Spiritual Surveillance by Daria Lourd\u003c/a>\u003c/iframe>\u003c/p>\n\n\n\n\u003cp>Lourd’s record is released by \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>, an Oakland storefront and distributor decidedly more renegade and grassroots than Chronicle Books, and which reflects the underground with a passionate, robust spirit. Of the Bay Area’s legacy of similar collectives, radio stations and DIY spaces, Lourd once \u003ca href=\"https://whitecrate.org/in-the-bay-its-up-to-people-who-really-care-interview-with-daria-lourd-aka-bored-lord/\">told an interviewer\u003c/a> that “no matter how hard people try to change that, it always lives on in between the cracks.”\u003c/p>\n\n\n\n\u003cp>For a glimpse into those exciting, active cracks, the SF Art Book Fair is a sterling place to start.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A signing and launch of ‘It Will Be More Beautiful Than You Could Ever Imagine’ takes place during the SF Art Book Fair, each day from Friday–Sunday, from 12 p.m.–2 p.m. A record-release performance for ‘Spiritual Surveillance’ takes place Saturday, July 25, from 7–10 p.m. Both events are held in the warehouse at 1201 Minnesota Street, San Francisco. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13991955/sf-art-book-fair-susan-omalley-daria-loard-2026",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_235",
"arts_22313"
],
"tags": [
"arts_1501",
"arts_22068",
"arts_22219",
"arts_1146",
"arts_585",
"arts_914"
],
"featImg": "arts_13961382",
"label": "source_arts_13991955"
},
"arts_13991008": {
"type": "posts",
"id": "arts_13991008",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13991008",
"score": null,
"sort": [
1782762016000
]
},
"guestAuthors": [],
"slug": "kaleena-zanders-san-jose-dance-music",
"title": "For San José’s Kaleena Zanders, Dance Music Is ‘a Magical Experience’",
"publishDate": 1782762016,
"format": "standard",
"headTitle": "For San José’s Kaleena Zanders, Dance Music Is ‘a Magical Experience’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>As \u003ca href=\"https://www.instagram.com/kaleenazanders/?hl=en\">Kaleena Zanders\u003c/a>’ song “\u003ca href=\"https://www.youtube.com/watch?v=31i2vFa7r8s\">The Light\u003c/a>” blasted through my headphones, I pedaled faster.\u003c/p>\n\n\n\n\u003cp>Soundtracked by energetic hi-hats, symphonic strings, a bass line from the underworld and Zanders’ heavenly vocals, my bike ride became a spiritual experience. And I’m clearly not the only one moved by Zanders’ music.\u003c/p>\n\n\n\n\u003cp>For more than a decade, Zanders has played nightclubs and festivals, and even once had a song featured in \u003ca href=\"https://www.ispot.tv/ad/waIE/toyota-super-bowl-2018-good-odds-song-by-kaleena-zanders\">a Super Bowl Toyota commercial\u003c/a>. Her debut album \u003cem>\u003ca href=\"https://open.spotify.com/album/0clTTK9wSXFKpTTtGq2sun\">Anything Goes\u003c/a>\u003c/em> dropped last month. It’s been highlighted by \u003cem>\u003ca href=\"https://www.billboard.com/music/music-news/up-coming-dance-artist-of-month-kaleena-zanders-april-2026-1236230807/\">Billboard\u003c/a>,\u003c/em> with two of its songs, “\u003ca href=\"https://www.youtube.com/watch?v=tDfP41vP8dQ\">Stronger Than Machines\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z1dPFBPt1_M\">Anything Goes\u003c/a>,” spotlighted by ESPN.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg\" alt=\"A person standing behind a DJ table at a crowded outdoors event.\" class=\"wp-image-13991110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Kaleena Zanders, pictured performing at Outside Lands in San Francisco’s Golden Gate Park in 2024, grew up playing sports and frequenting Hot Topic in San José. (Harp Digital Media)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As Zanders launches \u003ca href=\"https://www.kaleenazanders.com/tour\">a multiple-city tour\u003c/a> with stops across the United States and Canada, she gives credit to her upbringing in San José for making it possible.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Emo fits and musical theater\u003c/h2>\n\n\n\n\u003cp>“I ended up going to Independence High School,” Zanders tells me during a recent video call, “and I played a ton of sports.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a teenage basketball and rugby player, Zanders also got deep into her emo bag with fits from Hot Topic at Eastridge Mall, across the street from where she lived. While fashion and athletics were important, art proved significant in her upbringing.\u003c/p>\n\n\n\n\u003cp>“Musical theater was a huge part of my life,” says Zanders, who took classes at the \u003ca href=\"https://sanjoseacademyofmusic.com/san-jose-childrens-chorus/\">San Jose Children’s Choir \u003c/a>from the age of 8 to the age of 11. She had no problem singing to herself, but Zanders was a shy about appearing on stage.\u003c/p>\n\n\n\n\u003cp>“I was really caught off guard that my mom would put me in these musical theater classes,” Zanders reflects. But it all makes sense now. “I remember coming alive on stage,” Zanders says. “I get it.”\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=0mO0mYdan3w\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Having a musical outlet proved vital as she navigated her teenage years.\u003c/p>\n\n\n\n\u003cp>“Understanding that I’m queer,” says Zanders, “that was actually pretty hard for me in high school.” So she leaned into music, practicing on a piano in her mom’s garage, and eventually taking guitar lessons — which got her into rock music.\u003c/p>\n\n\n\n\u003cp>In college, Zanders played in a band, Moulder’s Lounge, which she calls “the most euphoric, life-changing experience.” The band allowed her to combine musical theater, instrumentation and rock music, and would’ve been big, Zanders believes, if they’d stayed together.\u003c/p>\n\n\n\n\u003cp>Zanders eventually moved to Los Angeles and enrolled at the Musicians Institute. One day, while she was working at Trader Joe’s in Hollywood, a friend told her about a DJ who needed someone to provide vocals for an EDM track. \u003c/p>\n\n\n\n\u003cp>“I wasn’t the kind of kid that could go out and rave,” Zanders says with a laugh; her mother wouldn’t have allowed it. “I literally knew nothing of rave culture,” she says. But she quickly learned.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg\" alt=\"The crowd's view of a person standing behind the DJ tables.\" class=\"wp-image-13991111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘I make music that’s rooted in love,’ says Kaleena Zanders, pictured performing in San Francisco’s Golden Gate Park at Outside Lands in 2024. (Harp Digital Media)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘Big diva vocals’\u003c/h2>\n\n\n\n\u003cp>Zanders now plays in nightclubs as well as sports arenas. They’re two very different settings, except that both are male-dominated. Simply by being present in those spaces, Zanders tells me, “as a woman, as a Black woman, as a queer woman, I naturally am gonna make some sort of statement. I don’t even need to say anything.”\u003c/p>\n\n\n\n\u003cp>Pivoting from writing verses and choruses of rock lyrics to short top-lines for dance anthems wasn’t easy.\u003c/p>\n\n\n\n\u003cp>Simplifying her lyrics felt like “it was like a diss to the art,” Zanders says. “I’m like, ‘What do you mean you only need one or two lines?’” But after digging deeper into the history of dance, and the work of artists like \u003ca href=\"https://en.wikipedia.org/wiki/Robin_S.\">Robin S.\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sonique_(musician)\">Sonique\u003c/a>, Zanders understood the power of “big diva vocals.” With only a few choice lyrics, Zanders affirms, one can “still very much understand, in a potent way, what the song is about.”\u003c/p>\n\n\n\n\u003cp>Featuring Shift K3Y, Bipolar Sunshine and Hayley May, each of the seven songs on \u003cem>Anything Goes\u003c/em> pack in a load of emotions and storytelling. Even the album name has multiple meanings.\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=AMl_XIjVAsg\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Heartbroken after an acquaintance stole something of hers, it hit Zanders that life is a free-for-all with no rules, for better or for worse.\u003c/p>\n\n\n\n\u003cp>“Look at these motherfuckers, they’re out here just stealing shit,” she says. “Okay, fuck! Let me have the audacity to do what I wanna do, which is \u003cem>good\u003c/em> stuff. But let me not be afraid, because these people aren’t afraid.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">A family lineage\u003c/h2>\n\n\n\n\u003cp>\u003cem>Anything Goes\u003c/em> could also describe Zanders herself. She’s an athletic pianist and former mohawked rocker who loves pop music and sings like gospel is in her blood. She also benefited from her mother’s guidance, inherited her’s father’s vocal abilities and stands on the shoulders of her grandmother.\u003c/p>\n\n\n\n\u003cp>“She was a prolific piano player,” Zanders says of her grandmother, a choir director who died when Zanders was just an infant but who left behind a trove of archival recordings. “Hearing that,” Zanders explains, “made me think, ‘Oh, okay, this is where some of my musical abilities come from.'”\u003c/p>\n\n\n\n\u003cp>Zanders does not claim any one faith. But whether her music’s blasting through a sound system in a New York nightclub, playing at an outdoors festival in Canada or slapping in the headphones of a journalist riding a bike in California, the spiritual element is evident.\u003c/p>\n\n\n\n\u003cp>“Dance music,” Zanders professes, “it can be a magical experience.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaleena Zanders performs Friday, July 17 as part of the three-day Dirtybird Cookout and Northern Nights musical festival in Piercy, California. \u003ca href=\"https://www.tixr.com/groups/northernnights/events/dirtybird-campout-x-northern-nights-music-festival-2026-160064\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>As \u003ca href=\"https://www.instagram.com/kaleenazanders/?hl=en\">Kaleena Zanders\u003c/a>’ song “\u003ca href=\"https://www.youtube.com/watch?v=31i2vFa7r8s\">The Light\u003c/a>” blasted through my headphones, I pedaled faster.\u003c/p>\n",
"innerContent": [
"\n\u003cp>As \u003ca href=\"https://www.instagram.com/kaleenazanders/?hl=en\">Kaleena Zanders\u003c/a>’ song “\u003ca href=\"https://www.youtube.com/watch?v=31i2vFa7r8s\">The Light\u003c/a>” blasted through my headphones, I pedaled faster.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Soundtracked by energetic hi-hats, symphonic strings, a bass line from the underworld and Zanders’ heavenly vocals, my bike ride became a spiritual experience. And I’m clearly not the only one moved by Zanders’ music.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Soundtracked by energetic hi-hats, symphonic strings, a bass line from the underworld and Zanders’ heavenly vocals, my bike ride became a spiritual experience. And I’m clearly not the only one moved by Zanders’ music.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>For more than a decade, Zanders has played nightclubs and festivals, and even once had a song featured in \u003ca href=\"https://www.ispot.tv/ad/waIE/toyota-super-bowl-2018-good-odds-song-by-kaleena-zanders\">a Super Bowl Toyota commercial\u003c/a>. Her debut album \u003cem>\u003ca href=\"https://open.spotify.com/album/0clTTK9wSXFKpTTtGq2sun\">Anything Goes\u003c/a>\u003c/em> dropped last month. It’s been highlighted by \u003cem>\u003ca href=\"https://www.billboard.com/music/music-news/up-coming-dance-artist-of-month-kaleena-zanders-april-2026-1236230807/\">Billboard\u003c/a>,\u003c/em> with two of its songs, “\u003ca href=\"https://www.youtube.com/watch?v=tDfP41vP8dQ\">Stronger Than Machines\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z1dPFBPt1_M\">Anything Goes\u003c/a>,” spotlighted by ESPN.\u003c/p>\n",
"innerContent": [
"\n\u003cp>For more than a decade, Zanders has played nightclubs and festivals, and even once had a song featured in \u003ca href=\"https://www.ispot.tv/ad/waIE/toyota-super-bowl-2018-good-odds-song-by-kaleena-zanders\">a Super Bowl Toyota commercial\u003c/a>. Her debut album \u003cem>\u003ca href=\"https://open.spotify.com/album/0clTTK9wSXFKpTTtGq2sun\">Anything Goes\u003c/a>\u003c/em> dropped last month. It’s been highlighted by \u003cem>\u003ca href=\"https://www.billboard.com/music/music-news/up-coming-dance-artist-of-month-kaleena-zanders-april-2026-1236230807/\">Billboard\u003c/a>,\u003c/em> with two of its songs, “\u003ca href=\"https://www.youtube.com/watch?v=tDfP41vP8dQ\">Stronger Than Machines\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z1dPFBPt1_M\">Anything Goes\u003c/a>,” spotlighted by ESPN.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991110,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Harp Digital Media",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-1536x1025.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg\" alt=\"A person standing behind a DJ table at a crowded outdoors event.\" class=\"wp-image-13991110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Kaleena Zanders, pictured performing at Outside Lands in San Francisco’s Golden Gate Park in 2024, grew up playing sports and frequenting Hot Topic in San José.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg\" alt=\"A person standing behind a DJ table at a crowded outdoors event.\" class=\"wp-image-13991110\"/>\u003cfigcaption class=\"wp-element-caption\">Kaleena Zanders, pictured performing at Outside Lands in San Francisco’s Golden Gate Park in 2024, grew up playing sports and frequenting Hot Topic in San José.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>As Zanders launches \u003ca href=\"https://www.kaleenazanders.com/tour\">a multiple-city tour\u003c/a> with stops across the United States and Canada, she gives credit to her upbringing in San José for making it possible.\u003c/p>\n",
"innerContent": [
"\n\u003cp>As Zanders launches \u003ca href=\"https://www.kaleenazanders.com/tour\">a multiple-city tour\u003c/a> with stops across the United States and Canada, she gives credit to her upbringing in San José for making it possible.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Emo fits and musical theater",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Emo fits and musical theater\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">Emo fits and musical theater\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“I ended up going to Independence High School,” Zanders tells me during a recent video call, “and I played a ton of sports.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“I ended up going to Independence High School,” Zanders tells me during a recent video call, “and I played a ton of sports.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>As a teenage basketball and rugby player, Zanders also got deep into her emo bag with fits from Hot Topic at Eastridge Mall, across the street from where she lived. While fashion and athletics were important, art proved significant in her upbringing.\u003c/p>\n",
"innerContent": [
"\n\u003cp>As a teenage basketball and rugby player, Zanders also got deep into her emo bag with fits from Hot Topic at Eastridge Mall, across the street from where she lived. While fashion and athletics were important, art proved significant in her upbringing.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“Musical theater was a huge part of my life,” says Zanders, who took classes at the \u003ca href=\"https://sanjoseacademyofmusic.com/san-jose-childrens-chorus/\">San Jose Children’s Choir \u003c/a>from the age of 8 to the age of 11. She had no problem singing to herself, but Zanders was a shy about appearing on stage.\u003c/p>\n",
"innerContent": [
"\n\u003cp>“Musical theater was a huge part of my life,” says Zanders, who took classes at the \u003ca href=\"https://sanjoseacademyofmusic.com/san-jose-childrens-chorus/\">San Jose Children’s Choir \u003c/a>from the age of 8 to the age of 11. She had no problem singing to herself, but Zanders was a shy about appearing on stage.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“I was really caught off guard that my mom would put me in these musical theater classes,” Zanders reflects. But it all makes sense now. “I remember coming alive on stage,” Zanders says. “I get it.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“I was really caught off guard that my mom would put me in these musical theater classes,” Zanders reflects. But it all makes sense now. “I remember coming alive on stage,” Zanders says. “I get it.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://www.youtube.com/watch?v=0mO0mYdan3w",
"type": "video",
"providerNameSlug": "youtube",
"responsive": true,
"className": "wp-embed-aspect-16-9 wp-has-aspect-ratio"
},
"innerHTML": "\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=0mO0mYdan3w\n\u003c/div>\u003c/figure>\n",
"innerContent": [
"\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=0mO0mYdan3w\n\u003c/div>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Having a musical outlet proved vital as she navigated her teenage years.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Having a musical outlet proved vital as she navigated her teenage years.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“Understanding that I’m queer,” says Zanders, “that was actually pretty hard for me in high school.” So she leaned into music, practicing on a piano in her mom’s garage, and eventually taking guitar lessons — which got her into rock music.\u003c/p>\n",
"innerContent": [
"\n\u003cp>“Understanding that I’m queer,” says Zanders, “that was actually pretty hard for me in high school.” So she leaned into music, practicing on a piano in her mom’s garage, and eventually taking guitar lessons — which got her into rock music.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In college, Zanders played in a band, Moulder’s Lounge, which she calls “the most euphoric, life-changing experience.” The band allowed her to combine musical theater, instrumentation and rock music, and would’ve been big, Zanders believes, if they’d stayed together.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In college, Zanders played in a band, Moulder’s Lounge, which she calls “the most euphoric, life-changing experience.” The band allowed her to combine musical theater, instrumentation and rock music, and would’ve been big, Zanders believes, if they’d stayed together.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Zanders eventually moved to Los Angeles and enrolled at the Musicians Institute. One day, while she was working at Trader Joe’s in Hollywood, a friend told her about a DJ who needed someone to provide vocals for an EDM track. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Zanders eventually moved to Los Angeles and enrolled at the Musicians Institute. One day, while she was working at Trader Joe’s in Hollywood, a friend told her about a DJ who needed someone to provide vocals for an EDM track. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“I wasn’t the kind of kid that could go out and rave,” Zanders says with a laugh; her mother wouldn’t have allowed it. “I literally knew nothing of rave culture,” she says. But she quickly learned.\u003c/p>\n",
"innerContent": [
"\n\u003cp>“I wasn’t the kind of kid that could go out and rave,” Zanders says with a laugh; her mother wouldn’t have allowed it. “I literally knew nothing of rave culture,” she says. But she quickly learned.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991111,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Harp Digital Media",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-1536x1025.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg\" alt=\"The crowd's view of a person standing behind the DJ tables.\" class=\"wp-image-13991111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘I make music that’s rooted in love,’ says Kaleena Zanders, pictured performing in San Francisco’s Golden Gate Park at Outside Lands in 2024.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg\" alt=\"The crowd's view of a person standing behind the DJ tables.\" class=\"wp-image-13991111\"/>\u003cfigcaption class=\"wp-element-caption\">‘I make music that’s rooted in love,’ says Kaleena Zanders, pictured performing in San Francisco’s Golden Gate Park at Outside Lands in 2024.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "‘Big diva vocals’",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘Big diva vocals’\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">‘Big diva vocals’\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Zanders now plays in nightclubs as well as sports arenas. They’re two very different settings, except that both are male-dominated. Simply by being present in those spaces, Zanders tells me, “as a woman, as a Black woman, as a queer woman, I naturally am gonna make some sort of statement. I don’t even need to say anything.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Zanders now plays in nightclubs as well as sports arenas. They’re two very different settings, except that both are male-dominated. Simply by being present in those spaces, Zanders tells me, “as a woman, as a Black woman, as a queer woman, I naturally am gonna make some sort of statement. I don’t even need to say anything.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Pivoting from writing verses and choruses of rock lyrics to short top-lines for dance anthems wasn’t easy.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Pivoting from writing verses and choruses of rock lyrics to short top-lines for dance anthems wasn’t easy.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Simplifying her lyrics felt like “it was like a diss to the art,” Zanders says. “I’m like, ‘What do you mean you only need one or two lines?’” But after digging deeper into the history of dance, and the work of artists like \u003ca href=\"https://en.wikipedia.org/wiki/Robin_S.\">Robin S.\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sonique_(musician)\">Sonique\u003c/a>, Zanders understood the power of “big diva vocals.” With only a few choice lyrics, Zanders affirms, one can “still very much understand, in a potent way, what the song is about.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Simplifying her lyrics felt like “it was like a diss to the art,” Zanders says. “I’m like, ‘What do you mean you only need one or two lines?’” But after digging deeper into the history of dance, and the work of artists like \u003ca href=\"https://en.wikipedia.org/wiki/Robin_S.\">Robin S.\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sonique_(musician)\">Sonique\u003c/a>, Zanders understood the power of “big diva vocals.” With only a few choice lyrics, Zanders affirms, one can “still very much understand, in a potent way, what the song is about.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Featuring Shift K3Y, Bipolar Sunshine and Hayley May, each of the seven songs on \u003cem>Anything Goes\u003c/em> pack in a load of emotions and storytelling. Even the album name has multiple meanings.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Featuring Shift K3Y, Bipolar Sunshine and Hayley May, each of the seven songs on \u003cem>Anything Goes\u003c/em> pack in a load of emotions and storytelling. Even the album name has multiple meanings.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/embed",
"attrs": {
"url": "https://www.youtube.com/watch?v=AMl_XIjVAsg",
"type": "video",
"providerNameSlug": "youtube",
"responsive": true,
"className": "wp-embed-aspect-16-9 wp-has-aspect-ratio"
},
"innerHTML": "\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=AMl_XIjVAsg\n\u003c/div>\u003c/figure>\n",
"innerContent": [
"\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=AMl_XIjVAsg\n\u003c/div>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Heartbroken after an acquaintance stole something of hers, it hit Zanders that life is a free-for-all with no rules, for better or for worse.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Heartbroken after an acquaintance stole something of hers, it hit Zanders that life is a free-for-all with no rules, for better or for worse.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“Look at these motherfuckers, they’re out here just stealing shit,” she says. “Okay, fuck! Let me have the audacity to do what I wanna do, which is \u003cem>good\u003c/em> stuff. But let me not be afraid, because these people aren’t afraid.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“Look at these motherfuckers, they’re out here just stealing shit,” she says. “Okay, fuck! Let me have the audacity to do what I wanna do, which is \u003cem>good\u003c/em> stuff. But let me not be afraid, because these people aren’t afraid.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "A family lineage",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">A family lineage\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">A family lineage\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Anything Goes\u003c/em> could also describe Zanders herself. She’s an athletic pianist and former mohawked rocker who loves pop music and sings like gospel is in her blood. She also benefited from her mother’s guidance, inherited her’s father’s vocal abilities and stands on the shoulders of her grandmother.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Anything Goes\u003c/em> could also describe Zanders herself. She’s an athletic pianist and former mohawked rocker who loves pop music and sings like gospel is in her blood. She also benefited from her mother’s guidance, inherited her’s father’s vocal abilities and stands on the shoulders of her grandmother.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“She was a prolific piano player,” Zanders says of her grandmother, a choir director who died when Zanders was just an infant but who left behind a trove of archival recordings. “Hearing that,” Zanders explains, “made me think, ‘Oh, okay, this is where some of my musical abilities come from.'”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“She was a prolific piano player,” Zanders says of her grandmother, a choir director who died when Zanders was just an infant but who left behind a trove of archival recordings. “Hearing that,” Zanders explains, “made me think, ‘Oh, okay, this is where some of my musical abilities come from.'”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Zanders does not claim any one faith. But whether her music’s blasting through a sound system in a New York nightclub, playing at an outdoors festival in Canada or slapping in the headphones of a journalist riding a bike in California, the spiritual element is evident.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Zanders does not claim any one faith. But whether her music’s blasting through a sound system in a New York nightclub, playing at an outdoors festival in Canada or slapping in the headphones of a journalist riding a bike in California, the spiritual element is evident.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“Dance music,” Zanders professes, “it can be a magical experience.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“Dance music,” Zanders professes, “it can be a magical experience.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": [],
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Kaleena Zanders performs Friday, July 17 as part of the three-day Dirtybird Cookout and Northern Nights musical festival in Piercy, California. \u003ca href=\"https://www.tixr.com/groups/northernnights/events/dirtybird-campout-x-northern-nights-music-festival-2026-160064\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Kaleena Zanders performs Friday, July 17 as part of the three-day Dirtybird Cookout and Northern Nights musical festival in Piercy, California. \u003ca href=\"https://www.tixr.com/groups/northernnights/events/dirtybird-campout-x-northern-nights-music-festival-2026-160064\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "The producer and vocalist knows the power of transcendence — and the world is taking notice. ",
"status": "publish",
"parent": 0,
"modified": 1782762026,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1070
},
"headData": {
"title": "For San José’s Kaleena Zanders, Dance Music Is ‘a Magical Experience’ | KQED",
"description": "The producer and vocalist knows the power of transcendence — and the world is taking notice. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "For San José’s Kaleena Zanders, Dance Music Is ‘a Magical Experience’",
"datePublished": "2026-06-29T12:40:16-07:00",
"dateModified": "2026-06-29T12:40:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13991008",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13991008/kaleena-zanders-san-jose-dance-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"https://www.instagram.com/kaleenazanders/?hl=en\">Kaleena Zanders\u003c/a>’ song “\u003ca href=\"https://www.youtube.com/watch?v=31i2vFa7r8s\">The Light\u003c/a>” blasted through my headphones, I pedaled faster.\u003c/p>\n\n\n\n\u003cp>Soundtracked by energetic hi-hats, symphonic strings, a bass line from the underworld and Zanders’ heavenly vocals, my bike ride became a spiritual experience. And I’m clearly not the only one moved by Zanders’ music.\u003c/p>\n\n\n\n\u003cp>For more than a decade, Zanders has played nightclubs and festivals, and even once had a song featured in \u003ca href=\"https://www.ispot.tv/ad/waIE/toyota-super-bowl-2018-good-odds-song-by-kaleena-zanders\">a Super Bowl Toyota commercial\u003c/a>. Her debut album \u003cem>\u003ca href=\"https://open.spotify.com/album/0clTTK9wSXFKpTTtGq2sun\">Anything Goes\u003c/a>\u003c/em> dropped last month. It’s been highlighted by \u003cem>\u003ca href=\"https://www.billboard.com/music/music-news/up-coming-dance-artist-of-month-kaleena-zanders-april-2026-1236230807/\">Billboard\u003c/a>,\u003c/em> with two of its songs, “\u003ca href=\"https://www.youtube.com/watch?v=tDfP41vP8dQ\">Stronger Than Machines\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z1dPFBPt1_M\">Anything Goes\u003c/a>,” spotlighted by ESPN.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg\" alt=\"A person standing behind a DJ table at a crowded outdoors event.\" class=\"wp-image-13991110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125811-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Kaleena Zanders, pictured performing at Outside Lands in San Francisco’s Golden Gate Park in 2024, grew up playing sports and frequenting Hot Topic in San José. (Harp Digital Media)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As Zanders launches \u003ca href=\"https://www.kaleenazanders.com/tour\">a multiple-city tour\u003c/a> with stops across the United States and Canada, she gives credit to her upbringing in San José for making it possible.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Emo fits and musical theater\u003c/h2>\n\n\n\n\u003cp>“I ended up going to Independence High School,” Zanders tells me during a recent video call, “and I played a ton of sports.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a teenage basketball and rugby player, Zanders also got deep into her emo bag with fits from Hot Topic at Eastridge Mall, across the street from where she lived. While fashion and athletics were important, art proved significant in her upbringing.\u003c/p>\n\n\n\n\u003cp>“Musical theater was a huge part of my life,” says Zanders, who took classes at the \u003ca href=\"https://sanjoseacademyofmusic.com/san-jose-childrens-chorus/\">San Jose Children’s Choir \u003c/a>from the age of 8 to the age of 11. She had no problem singing to herself, but Zanders was a shy about appearing on stage.\u003c/p>\n\n\n\n\u003cp>“I was really caught off guard that my mom would put me in these musical theater classes,” Zanders reflects. But it all makes sense now. “I remember coming alive on stage,” Zanders says. “I get it.”\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/0mO0mYdan3w'\n title='//www.youtube.com/embed/0mO0mYdan3w'\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>Having a musical outlet proved vital as she navigated her teenage years.\u003c/p>\n\n\n\n\u003cp>“Understanding that I’m queer,” says Zanders, “that was actually pretty hard for me in high school.” So she leaned into music, practicing on a piano in her mom’s garage, and eventually taking guitar lessons — which got her into rock music.\u003c/p>\n\n\n\n\u003cp>In college, Zanders played in a band, Moulder’s Lounge, which she calls “the most euphoric, life-changing experience.” The band allowed her to combine musical theater, instrumentation and rock music, and would’ve been big, Zanders believes, if they’d stayed together.\u003c/p>\n\n\n\n\u003cp>Zanders eventually moved to Los Angeles and enrolled at the Musicians Institute. One day, while she was working at Trader Joe’s in Hollywood, a friend told her about a DJ who needed someone to provide vocals for an EDM track. \u003c/p>\n\n\n\n\u003cp>“I wasn’t the kind of kid that could go out and rave,” Zanders says with a laugh; her mother wouldn’t have allowed it. “I literally knew nothing of rave culture,” she says. But she quickly learned.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg\" alt=\"The crowd's view of a person standing behind the DJ tables.\" class=\"wp-image-13991111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_20260625_125757-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘I make music that’s rooted in love,’ says Kaleena Zanders, pictured performing in San Francisco’s Golden Gate Park at Outside Lands in 2024. (Harp Digital Media)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘Big diva vocals’\u003c/h2>\n\n\n\n\u003cp>Zanders now plays in nightclubs as well as sports arenas. They’re two very different settings, except that both are male-dominated. Simply by being present in those spaces, Zanders tells me, “as a woman, as a Black woman, as a queer woman, I naturally am gonna make some sort of statement. I don’t even need to say anything.”\u003c/p>\n\n\n\n\u003cp>Pivoting from writing verses and choruses of rock lyrics to short top-lines for dance anthems wasn’t easy.\u003c/p>\n\n\n\n\u003cp>Simplifying her lyrics felt like “it was like a diss to the art,” Zanders says. “I’m like, ‘What do you mean you only need one or two lines?’” But after digging deeper into the history of dance, and the work of artists like \u003ca href=\"https://en.wikipedia.org/wiki/Robin_S.\">Robin S.\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sonique_(musician)\">Sonique\u003c/a>, Zanders understood the power of “big diva vocals.” With only a few choice lyrics, Zanders affirms, one can “still very much understand, in a potent way, what the song is about.”\u003c/p>\n\n\n\n\u003cp>Featuring Shift K3Y, Bipolar Sunshine and Hayley May, each of the seven songs on \u003cem>Anything Goes\u003c/em> pack in a load of emotions and storytelling. Even the album name has multiple meanings.\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/AMl_XIjVAsg'\n title='//www.youtube.com/embed/AMl_XIjVAsg'\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>Heartbroken after an acquaintance stole something of hers, it hit Zanders that life is a free-for-all with no rules, for better or for worse.\u003c/p>\n\n\n\n\u003cp>“Look at these motherfuckers, they’re out here just stealing shit,” she says. “Okay, fuck! Let me have the audacity to do what I wanna do, which is \u003cem>good\u003c/em> stuff. But let me not be afraid, because these people aren’t afraid.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">A family lineage\u003c/h2>\n\n\n\n\u003cp>\u003cem>Anything Goes\u003c/em> could also describe Zanders herself. She’s an athletic pianist and former mohawked rocker who loves pop music and sings like gospel is in her blood. She also benefited from her mother’s guidance, inherited her’s father’s vocal abilities and stands on the shoulders of her grandmother.\u003c/p>\n\n\n\n\u003cp>“She was a prolific piano player,” Zanders says of her grandmother, a choir director who died when Zanders was just an infant but who left behind a trove of archival recordings. “Hearing that,” Zanders explains, “made me think, ‘Oh, okay, this is where some of my musical abilities come from.'”\u003c/p>\n\n\n\n\u003cp>Zanders does not claim any one faith. But whether her music’s blasting through a sound system in a New York nightclub, playing at an outdoors festival in Canada or slapping in the headphones of a journalist riding a bike in California, the spiritual element is evident.\u003c/p>\n\n\n\n\u003cp>“Dance music,” Zanders professes, “it can be a magical experience.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaleena Zanders performs Friday, July 17 as part of the three-day Dirtybird Cookout and Northern Nights musical festival in Piercy, California. \u003ca href=\"https://www.tixr.com/groups/northernnights/events/dirtybird-campout-x-northern-nights-music-festival-2026-160064\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13991008/kaleena-zanders-san-jose-dance-music",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_1084"
],
"featImg": "arts_13991153",
"label": "arts"
},
"arts_13990263": {
"type": "posts",
"id": "arts_13990263",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13990263",
"score": null,
"sort": [
1780004895000
]
},
"guestAuthors": [],
"slug": "portola-festival-lineup-2026-robyn-zara-larsson-four-tet",
"title": "Portola Festival Lineup 2026: Robyn, Zara Larsson, Four Tet and More",
"publishDate": 1780004895,
"format": "standard",
"headTitle": "Portola Festival Lineup 2026: Robyn, Zara Larsson, Four Tet and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">electronic music festival\u003c/a>, staged annually at San Francisco’s Pier 80, has just announced its 2026 lineup. \u003c/p>\n\n\n\n\u003cp>Swedes make a strong showing on both days of the Portola Festival, with dance icon Robyn headlining Saturday, Sept. 26, and Swedish House Mafia occupying the same spot on Sept. 27. Co-headlining with Robyn is Dog Blood, a project by Skrillex and Boys Noize, reuniting for the first time since 2019 in their only performance of the year.\u003c/p>\n\n\n\n\u003cp>Other big names on Saturday include big beat veteran Fatboy Slim, pop artist Tove Lo (another Swede), and a DJ set from Melanie C on Saturday. On Sunday, Tiësto plays in the Warehouse, while hitmaker Zara Larsson (yet another Swede!), indie electronic artist Four Tet, and in-demand producer SG Lewis (performing live) take to the outdoor stages. \u003c/p>\n\n\n\n\u003cp>Despacio, the James Murphy (of LCD Soundsystem)–designed “immersive audio experience,” returns to the festival for the entire weekend. Last year, \u003ca href=\"https://www.kqed.org/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos\">KQED described\u003c/a> the all-vinyl sound system as a room that “made it easy to lose track of time.”\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">Passes go on sale\u003c/a> Tuesday, June 2, at 12 p.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">electronic music festival\u003c/a>, staged annually at San Francisco’s Pier 80, has just announced its 2026 lineup. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">electronic music festival\u003c/a>, staged annually at San Francisco’s Pier 80, has just announced its 2026 lineup. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Swedes make a strong showing on both days of the Portola Festival, with dance icon Robyn headlining Saturday, Sept. 26, and Swedish House Mafia occupying the same spot on Sept. 27. Co-headlining with Robyn is Dog Blood, a project by Skrillex and Boys Noize, reuniting for the first time since 2019 in their only performance of the year.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Swedes make a strong showing on both days of the Portola Festival, with dance icon Robyn headlining Saturday, Sept. 26, and Swedish House Mafia occupying the same spot on Sept. 27. Co-headlining with Robyn is Dog Blood, a project by Skrillex and Boys Noize, reuniting for the first time since 2019 in their only performance of the year.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Other big names on Saturday include big beat veteran Fatboy Slim, pop artist Tove Lo (another Swede), and a DJ set from Melanie C on Saturday. On Sunday, Tiësto plays in the Warehouse, while hitmaker Zara Larsson (yet another Swede!), indie electronic artist Four Tet, and in-demand producer SG Lewis (performing live) take to the outdoor stages. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Other big names on Saturday include big beat veteran Fatboy Slim, pop artist Tove Lo (another Swede), and a DJ set from Melanie C on Saturday. On Sunday, Tiësto plays in the Warehouse, while hitmaker Zara Larsson (yet another Swede!), indie electronic artist Four Tet, and in-demand producer SG Lewis (performing live) take to the outdoor stages. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Despacio, the James Murphy (of LCD Soundsystem)–designed “immersive audio experience,” returns to the festival for the entire weekend. Last year, \u003ca href=\"https://www.kqed.org/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos\">KQED described\u003c/a> the all-vinyl sound system as a room that “made it easy to lose track of time.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Despacio, the James Murphy (of LCD Soundsystem)–designed “immersive audio experience,” returns to the festival for the entire weekend. Last year, \u003ca href=\"https://www.kqed.org/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos\">KQED described\u003c/a> the all-vinyl sound system as a room that “made it easy to lose track of time.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">Passes go on sale\u003c/a> Tuesday, June 2, at 12 p.m.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">Passes go on sale\u003c/a> Tuesday, June 2, at 12 p.m.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
}
],
"excerpt": "The festival returns for its fifth year with foundational electronic musicians, rising DJs and pop acts.",
"status": "publish",
"parent": 0,
"modified": 1780005037,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 198
},
"headData": {
"title": "Portola Festival Lineup 2026: Robyn, Zara Larsson, Four Tet and More | KQED",
"description": "The festival returns for its fifth year with foundational electronic musicians, rising DJs and pop acts.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Portola Festival Lineup 2026: Robyn, Zara Larsson, Four Tet and More",
"datePublished": "2026-05-28T14:48:15-07:00",
"dateModified": "2026-05-28T14:50:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"WpOldSlug": "portola-festival-lineup-2026-robyn-fatboy-slim-four-tet",
"nprStoryId": "kqed-13990263",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13990263/portola-festival-lineup-2026-robyn-zara-larsson-four-tet",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">electronic music festival\u003c/a>, staged annually at San Francisco’s Pier 80, has just announced its 2026 lineup. \u003c/p>\n\n\n\n\u003cp>Swedes make a strong showing on both days of the Portola Festival, with dance icon Robyn headlining Saturday, Sept. 26, and Swedish House Mafia occupying the same spot on Sept. 27. Co-headlining with Robyn is Dog Blood, a project by Skrillex and Boys Noize, reuniting for the first time since 2019 in their only performance of the year.\u003c/p>\n\n\n\n\u003cp>Other big names on Saturday include big beat veteran Fatboy Slim, pop artist Tove Lo (another Swede), and a DJ set from Melanie C on Saturday. On Sunday, Tiësto plays in the Warehouse, while hitmaker Zara Larsson (yet another Swede!), indie electronic artist Four Tet, and in-demand producer SG Lewis (performing live) take to the outdoor stages. \u003c/p>\n\n\n\n\u003cp>Despacio, the James Murphy (of LCD Soundsystem)–designed “immersive audio experience,” returns to the festival for the entire weekend. Last year, \u003ca href=\"https://www.kqed.org/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos\">KQED described\u003c/a> the all-vinyl sound system as a room that “made it easy to lose track of time.”\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">Passes go on sale\u003c/a> Tuesday, June 2, at 12 p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13990263/portola-festival-lineup-2026-robyn-zara-larsson-four-tet",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_22068",
"arts_22333"
],
"featImg": "arts_13981615",
"label": "arts_140"
},
"arts_13989281": {
"type": "posts",
"id": "arts_13989281",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13989281",
"score": null,
"sort": [
1778184896000
]
},
"guestAuthors": [],
"slug": "om-records-downtempo-deep-house-san-francisco-anniversary",
"title": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF",
"publishDate": 1778184896,
"format": "standard",
"headTitle": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF | KQED",
"labelTerm": {},
"content": "\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The electronic label best known for ‘Mushroom Jazz’ celebrates at a giant anniversary block party this weekend.",
"status": "publish",
"parent": 0,
"modified": 1778192005,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1212
},
"headData": {
"title": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF | KQED",
"description": "The electronic label best known for ‘Mushroom Jazz’ celebrates at a giant anniversary block party this weekend.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF",
"datePublished": "2026-05-07T13:14:56-07:00",
"dateModified": "2026-05-07T15:13:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Adrian Spinelli",
"nprStoryId": "kqed-13989281",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13989281/om-records-downtempo-deep-house-san-francisco-anniversary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13989281/om-records-downtempo-deep-house-san-francisco-anniversary",
"authors": [
"byline_arts_13989281"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_6192",
"arts_1501",
"arts_10278",
"arts_1146",
"arts_585"
],
"featImg": "arts_13989291",
"label": "source_arts_13989281"
},
"arts_13988094": {
"type": "posts",
"id": "arts_13988094",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13988094",
"score": null,
"sort": [
1775070702000
]
},
"guestAuthors": [],
"slug": "program-audio-online-radio-san-francisco-haight",
"title": "Inside Program Audio, the Viral DJ Collective Streaming on Haight Street",
"publishDate": 1775070702,
"format": "audio",
"headTitle": "Inside Program Audio, the Viral DJ Collective Streaming on Haight Street | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>San Francisco’s \u003ca href=\"https://program.audio/\">Program Audio\u003c/a> runs on adrenaline and vibes.\u003c/p>\n\u003cp>On a rare sunny San Francisco afternoon, \u003ca href=\"https://www.instagram.com/sfcowboy_/\">Arthur Javier\u003c/a> is drilling plywood and connecting audio cables, sweat beading on his forehead. He has only minutes before his new internet radio station’s second-ever livestream, which is broadcasting from a wooden shack the size of a shower stall on Haight Street.\u003c/p>\n\u003cp>Just two weeks earlier, after reading about its history in an \u003ca href=\"https://www.sfgate.com/obscuresf/article/last-fotomat-san-francisco-21314862.php\">SFGate article\u003c/a>, he and business partner \u003ca href=\"https://www.instagram.com/b0nitababy/\">Erika Martinez\u003c/a> signed the lease for this former Fotomat kiosk across from Amoeba Records. This tiny 59-year-old structure once housed a drive-through for developing photos, but it eventually fell into disuse and sat collecting cobwebs. When Javier and Martinez got the keys, they immediately got to work, peeling off decades-worth of flyers (“It’s like the rings around a tree,” Javier says) and painting over graffiti.\u003c/p>\n\u003cfigure id=\"attachment_13988154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Program Audio founders Arthur Javier and Erika Martinez pose in front of the group’s kiosk while a DJ performs inside during a livestreamed set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It happened to be the heat wave week,” he says. “And we were also sick, but we wanted to keep the surprise. We knew our audience that we’d built, our friend group, would just lose their minds. And they did.”\u003c/p>\n\u003cp>Program Audio’s opening announcement made headlines and \u003ca href=\"https://www.tiktok.com/@b0nitababy/video/7619443704155147550\">went viral on TikTok\u003c/a>, generating approving comments from people eager for the return of the kind of out-there, DIY creativity that once made San Francisco a counterculture hub. Their new internet radio station is the culmination of five years of work Javier and Martinez have put in behind the scenes to nurture San Francisco’s electronic music ecosystem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 26- and 27-year-old friends began throwing underground parties together as pandemic restrictions lifted. Eventually, they became trusted curators at a number of San Francisco venues, including the SoMa nightclub F8 and Mission District wine bar Arcana.\u003c/p>\n\u003cfigure id=\"attachment_13988149\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Original Program Audio flyers hang inside the collective’s kiosk on Haight Street in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two are DJs (Javier goes by sfcowboy, and Martinez mononymously performs as erika), and their forward-thinking take on techno has attracted likeminded musicians. That community evolved into the \u003ca href=\"https://program-audio.bandcamp.com/music\">Program Audio record label\u003c/a> and \u003ca href=\"https://soulseek.online/\">\u003cem>Soulseek\u003c/em>\u003c/a> electronic music zine.\u003c/p>\n\u003cp>“These are really emerging sounds from Latin American backgrounds — deconstructed club, Latin bass,” says Javier, who has the Program Audio logo tattooed on his finger. “I feel like, it’s like when I listen to Kraftwerk for the first time, these things are really cutting edge and exciting.”\u003c/p>\n\u003cp>Program Audio’s new compilation — a surprise release they upload to Bandcamp the day I visit — raises money for the National Immigrant Justice Center. It features dark drum’n’bass by San Francisco’s xxveneco, house with a ’90s flavor by Oakland’s 3:33 and an ambient, dreamy track with crackling drums by Seoul, Korea’s Closet Yi.\u003c/p>\n\u003cfigure id=\"attachment_13988152\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988152\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Erika Martinez, co-founder of Program Audio, works at a screen-printing station surrounded by event flyers. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With everything going on with ICE and how scary it is for immigrants at this time, we kind of just felt helpless,” says Martinez. “We don’t necessarily have funds ourselves … but we’re trying to figure out a way to use what we’re good at to help.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=383469968/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>As Javier tests the speakers and fields questions from curious passersby at the kiosk, Martinez is down the street at Javier’s apartment, screenprinting dozens of T-shirts that the duo is selling this evening. Their cats Tekno and Lou come over to nap on the warm garments coming off the heat press.\u003c/p>\n\u003cp>While Javier still works a day job, Martinez has been doing Program Audio as her full-time gig for almost two years. The platform has grown in large part thanks to her TikTok presence, where she brands herself as “your sf nightlife guide.” With short bangs, a deadpan delivery and pink pout, she’s become a recognizable face on the For You pages of Bay Area residents looking to get off their screens and dance til the early morning.\u003c/p>\n\u003cp>“I started using TikTok because I realized there was, the simplest way to say it is, a gap in the market,” she says. ‘There was absolutely no one talking about San Francisco’s electronic music scene.”\u003c/p>\n\u003cfigure id=\"attachment_13988153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cats rest on newly printed Program Audio T-shirts as a co-founder Erika Martinez, organizes merchandise in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The daughter of a b-boy and a club kid, Martinez has made it her mission to help the Bay Area’s electronic music scene grow. Program Audio joins a \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">rising number of independent, DJ-run online radio stations\u003c/a>, including Fault Radio, Hyde FM and Lower Grand Radio. They’re also part of a community of DJs promoting forward-thinking club music, including \u003ca href=\"https://ra.co/promoters/147486\">Mostly Cloudy\u003c/a>, \u003ca href=\"https://nobias.bandcamp.com/\">No Bias\u003c/a> and \u003ca href=\"https://amordigital.bandcamp.com/\">Amor Digital\u003c/a>.\u003c/p>\n\u003cp>“I just see the potential in S.F. — not even like becoming New York, but becoming its own very special thing,” Martinez says. She hopes the attention on Program Audio prompts San Francisco’s city government to invest into artist-run spaces.\u003c/p>\n\u003cp>Martinez packs up the T-shirts and walks back to the kiosk, where discnogirl and Tom Marsi are spinning bouncy footwork as a small, all-ages crowd starts to coalesce, bobbing their heads.\u003c/p>\n\u003cfigure id=\"attachment_13988147\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988147\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Javier hangs T-shirts and tote bags as he prepares Program Audio’s kiosk for a livestreamed DJ set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really cool that this is non-corporate, non-sponsored, it’s just two locals doing things for other locals,” says Marsi.\u003c/p>\n\u003cp>Martinez hangs up the fresh T-shirts, but she can’t stay for too long. In just a few hours, she’s due at F8 for a Program Audio party, and she has her set to prepare. She peels off once again, and Javier stays behind to watch the DJ booth.\u003c/p>\n\u003cp>“We’re crazy and we’re stressed, but we know that we’re putting in so much work and the feedback is good,” he says. “So it’s kind of just pushing us and showing us that we’re going in the right direction.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://program.audio/\">Program Audio\u003c/a> streams every Friday and Saturday, 4–8 p.m. \u003ca href=\"https://ra.co/events/2379120\">Their next party\u003c/a> takes place April 3 at Club Six (60 6th St., San Francisco), featuring sets from DBBD, erika, Femme Jatale, Beverly Chills and more. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "DJs sfcowboy and erika took over the former Fotomat kiosk after years of throwing parties in San Francisco. ",
"status": "publish",
"parent": 0,
"modified": 1777052808,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=383469968/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1162
},
"headData": {
"title": "Inside Program Audio, the Viral DJ Collective Streaming on Haight Street | KQED",
"description": "DJs sfcowboy and erika took over the former Fotomat kiosk after years of throwing parties in San Francisco. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Inside Program Audio, the Viral DJ Collective Streaming on Haight Street",
"datePublished": "2026-04-01T12:11:42-07:00",
"dateModified": "2026-04-24T10:46:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/993b176c-03c4-40a8-91fa-b4360113949c/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13988094",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13988094/program-audio-online-radio-san-francisco-haight",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://program.audio/\">Program Audio\u003c/a> runs on adrenaline and vibes.\u003c/p>\n\u003cp>On a rare sunny San Francisco afternoon, \u003ca href=\"https://www.instagram.com/sfcowboy_/\">Arthur Javier\u003c/a> is drilling plywood and connecting audio cables, sweat beading on his forehead. He has only minutes before his new internet radio station’s second-ever livestream, which is broadcasting from a wooden shack the size of a shower stall on Haight Street.\u003c/p>\n\u003cp>Just two weeks earlier, after reading about its history in an \u003ca href=\"https://www.sfgate.com/obscuresf/article/last-fotomat-san-francisco-21314862.php\">SFGate article\u003c/a>, he and business partner \u003ca href=\"https://www.instagram.com/b0nitababy/\">Erika Martinez\u003c/a> signed the lease for this former Fotomat kiosk across from Amoeba Records. This tiny 59-year-old structure once housed a drive-through for developing photos, but it eventually fell into disuse and sat collecting cobwebs. When Javier and Martinez got the keys, they immediately got to work, peeling off decades-worth of flyers (“It’s like the rings around a tree,” Javier says) and painting over graffiti.\u003c/p>\n\u003cfigure id=\"attachment_13988154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Program Audio founders Arthur Javier and Erika Martinez pose in front of the group’s kiosk while a DJ performs inside during a livestreamed set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It happened to be the heat wave week,” he says. “And we were also sick, but we wanted to keep the surprise. We knew our audience that we’d built, our friend group, would just lose their minds. And they did.”\u003c/p>\n\u003cp>Program Audio’s opening announcement made headlines and \u003ca href=\"https://www.tiktok.com/@b0nitababy/video/7619443704155147550\">went viral on TikTok\u003c/a>, generating approving comments from people eager for the return of the kind of out-there, DIY creativity that once made San Francisco a counterculture hub. Their new internet radio station is the culmination of five years of work Javier and Martinez have put in behind the scenes to nurture San Francisco’s electronic music ecosystem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 26- and 27-year-old friends began throwing underground parties together as pandemic restrictions lifted. Eventually, they became trusted curators at a number of San Francisco venues, including the SoMa nightclub F8 and Mission District wine bar Arcana.\u003c/p>\n\u003cfigure id=\"attachment_13988149\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Original Program Audio flyers hang inside the collective’s kiosk on Haight Street in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two are DJs (Javier goes by sfcowboy, and Martinez mononymously performs as erika), and their forward-thinking take on techno has attracted likeminded musicians. That community evolved into the \u003ca href=\"https://program-audio.bandcamp.com/music\">Program Audio record label\u003c/a> and \u003ca href=\"https://soulseek.online/\">\u003cem>Soulseek\u003c/em>\u003c/a> electronic music zine.\u003c/p>\n\u003cp>“These are really emerging sounds from Latin American backgrounds — deconstructed club, Latin bass,” says Javier, who has the Program Audio logo tattooed on his finger. “I feel like, it’s like when I listen to Kraftwerk for the first time, these things are really cutting edge and exciting.”\u003c/p>\n\u003cp>Program Audio’s new compilation — a surprise release they upload to Bandcamp the day I visit — raises money for the National Immigrant Justice Center. It features dark drum’n’bass by San Francisco’s xxveneco, house with a ’90s flavor by Oakland’s 3:33 and an ambient, dreamy track with crackling drums by Seoul, Korea’s Closet Yi.\u003c/p>\n\u003cfigure id=\"attachment_13988152\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988152\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Erika Martinez, co-founder of Program Audio, works at a screen-printing station surrounded by event flyers. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With everything going on with ICE and how scary it is for immigrants at this time, we kind of just felt helpless,” says Martinez. “We don’t necessarily have funds ourselves … but we’re trying to figure out a way to use what we’re good at to help.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=383469968/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>As Javier tests the speakers and fields questions from curious passersby at the kiosk, Martinez is down the street at Javier’s apartment, screenprinting dozens of T-shirts that the duo is selling this evening. Their cats Tekno and Lou come over to nap on the warm garments coming off the heat press.\u003c/p>\n\u003cp>While Javier still works a day job, Martinez has been doing Program Audio as her full-time gig for almost two years. The platform has grown in large part thanks to her TikTok presence, where she brands herself as “your sf nightlife guide.” With short bangs, a deadpan delivery and pink pout, she’s become a recognizable face on the For You pages of Bay Area residents looking to get off their screens and dance til the early morning.\u003c/p>\n\u003cp>“I started using TikTok because I realized there was, the simplest way to say it is, a gap in the market,” she says. ‘There was absolutely no one talking about San Francisco’s electronic music scene.”\u003c/p>\n\u003cfigure id=\"attachment_13988153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cats rest on newly printed Program Audio T-shirts as a co-founder Erika Martinez, organizes merchandise in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The daughter of a b-boy and a club kid, Martinez has made it her mission to help the Bay Area’s electronic music scene grow. Program Audio joins a \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">rising number of independent, DJ-run online radio stations\u003c/a>, including Fault Radio, Hyde FM and Lower Grand Radio. They’re also part of a community of DJs promoting forward-thinking club music, including \u003ca href=\"https://ra.co/promoters/147486\">Mostly Cloudy\u003c/a>, \u003ca href=\"https://nobias.bandcamp.com/\">No Bias\u003c/a> and \u003ca href=\"https://amordigital.bandcamp.com/\">Amor Digital\u003c/a>.\u003c/p>\n\u003cp>“I just see the potential in S.F. — not even like becoming New York, but becoming its own very special thing,” Martinez says. She hopes the attention on Program Audio prompts San Francisco’s city government to invest into artist-run spaces.\u003c/p>\n\u003cp>Martinez packs up the T-shirts and walks back to the kiosk, where discnogirl and Tom Marsi are spinning bouncy footwork as a small, all-ages crowd starts to coalesce, bobbing their heads.\u003c/p>\n\u003cfigure id=\"attachment_13988147\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988147\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Javier hangs T-shirts and tote bags as he prepares Program Audio’s kiosk for a livestreamed DJ set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really cool that this is non-corporate, non-sponsored, it’s just two locals doing things for other locals,” says Marsi.\u003c/p>\n\u003cp>Martinez hangs up the fresh T-shirts, but she can’t stay for too long. In just a few hours, she’s due at F8 for a Program Audio party, and she has her set to prepare. She peels off once again, and Javier stays behind to watch the DJ booth.\u003c/p>\n\u003cp>“We’re crazy and we’re stressed, but we know that we’re putting in so much work and the feedback is good,” he says. “So it’s kind of just pushing us and showing us that we’re going in the right direction.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://program.audio/\">Program Audio\u003c/a> streams every Friday and Saturday, 4–8 p.m. \u003ca href=\"https://ra.co/events/2379120\">Their next party\u003c/a> takes place April 3 at Club Six (60 6th St., San Francisco), featuring sets from DBBD, erika, Femme Jatale, Beverly Chills and more. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13988094/program-audio-online-radio-san-francisco-haight",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10342",
"arts_1501",
"arts_10278",
"arts_5564"
],
"featImg": "arts_13988155",
"label": "arts"
},
"arts_13984148": {
"type": "posts",
"id": "arts_13984148",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984148",
"score": null,
"sort": [
1764620745000
]
},
"guestAuthors": [],
"slug": "the-best-bay-area-albums-of-2025",
"title": "The 20 Best Bay Area Albums of 2025",
"publishDate": 1764620745,
"format": "standard",
"headTitle": "The 20 Best Bay Area Albums of 2025 | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The year is almost over, and we’re working on our resolutions. Out: passively listening to algorithm-driven, \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-infested playlists\u003c/a>. In: letting the talented artists in your community move, surprise and even challenge you, restoring your faith in humanity.\u003c/p>\n\u003cp>Whether making hip-hop, punk, salsa or spiritual jazz, Bay Area artists didn’t disappoint this year. The KQED Arts & Culture team and contributors combed through 2025’s releases to bring you our favorite local music of the year. Turn up the volume and hit play. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6fiG4ui62dDneZQjMFh8ha?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jamel Griot, \u003cem>Sincerely, Jamel \u003c/em>(Remain Family Oriented Records)\u003c/h2>\n\u003cp>On \u003cem>Sincerely, Jamel\u003c/em>, Oakland rapper Jamel Griot invites us to witness his dark night of the soul, when grief cracks him open and forces him face himself, honestly and unflinchingly. Griot punctuates hard-hitting verses over contemplative, jazzy beats with diary entries, revealing how serial one-night stands turned into a coping mechanism, and how partying has disconnected him from his purpose. “Although you a self-centered n—, you aren’t selfish enough. Because a selfish person loves themselves,” he reads aloud from his journal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To find his way back to himself, Griot unpacks childhood trauma with a courageous vulnerability. His lyrics illuminate a new path forward, one that invites listeners to lovingly tend to their own scars. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2YjTKpjohCKRlShBvgWHqQ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rabiah Kabir, \u003cem>Jezebel: Rewritten \u003c/em>(Self-released)\u003c/h2>\n\u003cp>The song “Flute / Overture,” opens Rabiah Kabir’s \u003cem>Jezebel: Rewritten\u003c/em> with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute’s flow intertwines with comments about the historical importance of the instrument and the artist’s work to dispel sexist notions about flutists.\u003c/p>\n\u003cp>With the support of a full band, Oakland’s Kabir shows a range of a flute’s sonic capabilities. The song “Fin.” showcases the wind instrument’s mysticism. “The ReZident” offers a taste of flute funk. And the dark keys and heavy drums at the start of “I Crashed My Car” create an anxious tone that is ultimately resolved, climaxing in a flute run that’s as relaxing as a field of fresh lavender. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4149894761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kathryn Mohr, \u003cem>Waiting Room\u003c/em> (The Flenser)\u003c/h2>\n\u003cp>A bell’s hollow rings echo through a room. Static builds. Radio noise chatters in the distance. Sea waves crash. Someone (or something) scribbles. The field recordings that populate Kathryn Mohr’s \u003cem>Waiting Room\u003c/em> — self-recorded in an abandoned fish factory in Iceland — give a sense of isolation and melancholy, capturing the anxiety of anticipation.\u003c/p>\n\u003cp>Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener “Diver,” dissonant tracks weave between guitar-driven, ’90s grunge-inspired pieces. In “Petrified,” gentle vocals evoke violent visuals that dance above finger-plucked guitar. Mohr’s full-length debut asks its listeners to find beauty in decay, to sit in feelings of discomfort without the promise of catharsis. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1MTodq6IqzqFEav64mt1Jg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Michael Sneed, \u003cem>floaters at the buzzer!\u003c/em> (Michael Sneed/Create Music Group)\u003c/h2>\n\u003cp>Attention spans might be shrinking because of TikTok and Instagram, but rapper and producer Michael Sneed’s \u003cem>floaters at the buzzer!\u003c/em> beckons to be heard from start to finish. “I’ll be your guide, I got you,” Sneed croons on the opening track. From there he puffs out his chest on “blend*” featuring Bay Area trailblazer P-Lo.\u003c/p>\n\u003cp>On “town sh!t 4ever!,” Sneed and P-Lo reinterpret a classic by sampling Mistah F.A.B.’s legendary “N.E.W. Oakland.” The song features Ovrkast. and wrestles with the tension of being pushed out of your hometown yet still trying to love it despite the struggles. This contradiction crescendos with “still ain’t die!,” a trumpet-laced proclamation of the life Sneed and his kin insist on, in spite of the forces conspiring against their thriving. \u003cem>— Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=106152191/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>John Elliott, \u003cem>I Am John Mayer\u003c/em> (Self-released)\u003c/h2>\n\u003cp>When John Michael Mayer started making music in the Y2K era, he faced a problem: There was another musician on the internet named John Mayer. Vowing to battle for name recognition and acclaim in the public arena, he released song after song, none as schlocky as “Your Body Is a Wonderland,” and lost the fight. Now, the San Francisco musician forced to rechristen himself John Elliott has told the story in a catchy, cleverly written title track, “I Am John Mayer.”\u003c/p>\n\u003cp>Possessed of a Jonathan Richman sincerity and a John Darnielle expressiveness, Elliott’s a wide-eyed everyman who soaks up and sings about the world’s joys and pains alike. (Recall his \u003ca href=\"https://www.kqed.org/arts/13912499/song-jfk-drive-car-free-board-of-supervisors-sf\">one-minute song to elected officials about keeping JFK Drive car-free\u003c/a>.) On \u003cem>I Am John Mayer\u003c/em> (currently only available \u003ca href=\"https://www.thehereafterishere.com/store/p/i-am-john-mayer-digital-download\">through his website\u003c/a>, and coming soon to streaming), he’s in top form, including the heartstring-pulling “Out Here,” a plea to an unborn child hesitant to enter the world. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2rPy6g5DGQBsb7g96xXFGI?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jane Handcock, \u003cem>It’s Me, Not You \u003c/em>(Death Row Records/gamma.)\u003c/h2>\n\u003cp>\u003cem>It’s Me, Not You\u003c/em> marks a well-deserved ascent for Jane Handcock, the mega-talented Richmond-raised vocalist who’s spent years behind the scenes, penning lyrics for R&B and hip-hop greats like Kelly Rowland, Rick Ross, Tyrese and Teddy Riley. Now signed to the venerable Death Row Records, Handcock delivered a finely crafted album for the grown-and-sexy lover girls.\u003c/p>\n\u003cp>The effervescent mood of “Stare At Me” featuring Anderson .Paak feels like eclectic sliding through the clouds. The funky, horn-driven “Can’t Let Go” drips with sex appeal, and on “For the Views” — a missive to social-media lurkers — Handcock conjures the atmosphere of a smoke-filled lounge where one might exchange a furtive glance over the rim of a martini glass. \u003cem>It’s Me, Not You\u003c/em> proves Handcock has earned her spotlight and will continue to hold our attention for a long time. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=97838322/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spiritual Cramp, \u003ci>Rude\u003c/i> (Blue Grape Music)\u003c/h2>\n\u003cp>“What if I went back home to the Bay where I belong? / In the heart of San Francisco, just an hour away from home,” Spiritual Cramp’s Michael Bingham sings on “True Love (Is Hard To Find).” It’s the premise for \u003cem>Rude\u003c/em>, an eloquent new-wave punk love letter to the city that still holds the keys to his soul, even though he’s moved away.\u003c/p>\n\u003cp>Produced by the accomplished John Congleton, \u003cem>Rude\u003c/em> wears that heart on its sleeve at every turn, from the tantalizing melodies of “Automatic” to the endearingly self-deprecating “At My Funeral.” Sharon Van Etten guests on the gleaming “You’ve Got My Number,” a highlight within what should go down as a breakout effort for Spiritual Cramp, who are primed for big things in 2026. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2XeGkDrU1IX9hlqEId3GS3?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> (Patois Records)\u003c/h2>\n\u003cp>It’s rare indeed when an album makes you rethink the history of a genre, but by focusing on female salsa and Latin jazz artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> offers a deeply informed alternative view of the evolution of Latin music in the Bay Area. Without a dominant group to shape the rhythmic currents, the Bay Area Latin music scene has always cast a wide net. This two-disc anthology shows that same pan-Latin forces at work, showcasing excellent work by women from Venezuela, Cuba, Chile and Colombia and the U.S.\u003c/p>\n\u003cp>Both discs open with new music showcasing a brilliant cross-section of women players, many of whom lead their own bands. But it’s tracks like “Cosmo” by the Blazing Redheads, an all-female septet that coalesced at the end of the 1980s with a dance-inducing combination of jazz, funk and Latin beats, that make \u003cem>Renegade Queens\u003c/em> a continual source of delight. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/22nSF43OqkoSheKO58Fie1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Lil Yee, \u003cem>Life After Death\u003c/em> (G-Affair/Empire)\u003c/h2>\n\u003cp>“They say death is a deep sleep / Wake me up, it ain’t my time,” says San Francisco’s Lil Yee on \u003cem>Life After Death\u003c/em>. After being shot in March of this year, Yee’s latest project illustrates his pain, his family’s love and his devotion to a higher power.\u003c/p>\n\u003cp>He brings the audience into the hospital on “ICU” as he describes the feeling of flatlining. Yee yearns for romantic love on “Love Me FRFR,” and he stunts on tracks with Veeze, 22nd Jim and EBK Jaaybo. On “Chopper Zone,” Yee paints the perils of his community. “Wicked Man” is a blues song about sinister things happening to benevolent people. And on “Sunday Morning,” Yee shares his resilient mindstate after the shooting, and how he’s persevering through it all. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2185729243/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spellling, \u003cem>Portrait of My Heart\u003c/em> (Sacred Bones)\u003c/h2>\n\u003cp>On \u003cem>Portrait of My Heart\u003c/em>, Oakland art-pop luminary Spellling strips away ornate theatricality for punchy guitar rock that speaks straight into the soul of anyone who’s ever felt like an outcast: “I don’t belong here,” she wails on the title track, which simmers with inner turmoil before boiling over into a cathartic crescendo.\u003c/p>\n\u003cp>The sharply written album is a cinematic ride through alienation and grief. Spellling pushes the limits of her voice to belt, whisper and growl as she delicately unravels thorny emotions such as shame and fear, letting herself bleed as she narrates her internal battles. Guitarist Wyatt Overson’s distortion-heavy riffs and anthemic solos add weight to the gut punch of Spellling’s lyrical intensity. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2577981795/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Arts and Crafts, \u003cem>1000 Dancing Devils\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Prog jazz meets math rock meets influences from South Asia and North Africa in Arts and Crafts’ \u003cem>1000 Dancing Devils\u003c/em>. Guitarist Noam Teyssier, bassist Nadia Aquil and drummer Jeff Klein \u003ca href=\"https://www.linkedin.com/pulse/arts-crafts-1000-dancing-devils-review-ngo-core-2q9oc/\">say their inspirations span\u003c/a> Moroccan ouds, Bollywood films and the band Phish — specifically for the track “Roti,” the three-over-four rhythm from Phish’s “Buried Alive.”\u003c/p>\n\u003cp>The sounds originate from the San Francisco and Oakland band’s own communities and diasporas, combining and transmuting to form the groovy, upbeat album: Psychedelic opener “Oö” gives way to the cymbal crashes and pulsing surf rock of “Sidi Bouzid.” Named after a Moroccan city of Teyssier’s childhood, that track ends with a sample of the very musicians who played at Teyssier’s wedding. It’s personal and universal and wholly Bay Area. Blast the album during a winding car ride along the California coast, and you’ll find your head nodding, fingers reaching out of the open window to tap along. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2693444777/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Andrés Miguel Cervantes, \u003cem>Songs for the Seance\u003c/em> (Speakeasy Studios SF)\u003c/h2>\n\u003cp>Andrés Miguel Cervantes is a Western desperado whose journeys through the Sonoran and Mojave deserts and up the coast are at the crux of his latest album. \u003cem>Songs for the Seance\u003c/em> sounds like Hermanos Gutierrez backing Sturgill Simpson, and this is rarified air for a Bay Area artist.\u003c/p>\n\u003cp>Recorded on eight-track tape, sinister guitar, omnipresent pedal steel and twangy violin, garnished with harmonica, guide Cervantes’ rugged baritone staccato. “I saw the devil’s eyes in me,” the Oaklander laments on the title track, pleading to marauding spirits that he’s passionately trying to harness. It’s one of many wonderfully constructed tunes on an album that reveals Cervantes’ gifts as an essential emerging storyteller. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1253547124/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Cole Pulice, \u003cem>Land’s End Eternal \u003c/em>(Leaving Records)\u003c/h2>\n\u003cp>Cole Pulice’s work this decade showed improvisers all over the world a way forward for Coltrane-inspired spiritual-jazz saxophone, culminating in the pitch-shifted frenzy of 2023’s longform odyssey “If I Don’t See You in the Future, I’ll See You in the Pasture.” On their new album \u003cem>Land’s End Eternal\u003c/em>, the Oakland improviser takes a breather, pairing the first scratchings of their journey as a guitarist with gentle saxophone leads that snake across the stereo field like the cliff-hugging trails of the album’s namesake park.\u003c/p>\n\u003cp>Pulice cited Bay Area art-music legends Pauline Oliveros and Terry Riley as inspirations for their meditative approach on this record, but it’s guided just as much by the ineffable something that rolls in with the fog every night. \u003cem>— Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1fHEmXGVuCHiRI10E9gybP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Mr. Nobody\u003c/em> (Grand Nationxl/Create Music Group)\u003c/h2>\n\u003cp>“Fuck the middleman, I had to do it myself.” So begins Kevin Allen’s \u003cem>Mr. Nobody\u003c/em>, a 10-song manifesto from one of the Bay’s most prolific and underrated rappers. At this stage in his career, Allen’s got nothing more to prove, evidenced by the risk-taking on the breezy, exploratory R&B of his 2024 album \u003cem>Don’t Overthink It\u003c/em>.\u003c/p>\n\u003cp>This time around, Allen’s the grown lyricist claiming his spot at the Bay Area table, with a well-earned chip on his shoulder (“My baby mama only one who came to my court date,” he raps on “F.W.W.I.D.”). Add an undercurrent of gospel, a dash of the cinematic and a sidearm pitch of romance in the eighth inning (“Put You First”), and you’ve got a solid album with Allen’s voice and vision front and center — no middleman needed. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=658546348/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Raven, \u003cem>Gnosis\u003c/em> (Incienso)\u003c/h2>\n\u003cp>There’s certain music that timelessly soundtracks a pensive nighttime stroll in the big city. Everything but the Girl’s \u003cem>Walking Wounded\u003c/em> inspires you to find a dance floor and spill your emotions, while Adam F’s \u003cem>Colours\u003c/em> invites you to seek harmony in the chaos of your surroundings. San Francisco producer Raven’s \u003cem>Gnosis\u003c/em> (out on NYC’s Incienso label) has a similar spirit, emphasizing the organic sensory experiences of urban life amid an increasingly tech-saturated landscape: the moisture in the air, cold pavement, tall buildings, lights that flicker and thousands of people with their hands in their pockets making their way across town.\u003c/p>\n\u003cp>Wrapped in synths and dark textures, Raven’s ambient techno begs us to dance, but ultimately stays grounded in an IDM sensibility — like floating above a wormhole into a mysterious other side and winning the battle against its gravitational pull. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/47NKcUIh3dBEfKgCfIV475?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>demahjiae, \u003cem>what do you hear when you pray?\u003c/em> (Yalé/Empire)\u003c/h2>\n\u003cp>“How is this for alternative?” demahjiae begins, pushing back on being pigeonholed as an artist. \u003cem>what do you hear when you pray?\u003c/em> releases the expectation to have answers, offering a litany of questions instead. In a time when many stereotype the Bay Area as having a single sound, demahjiae puts his foot down, stubbornly crafting on his terms.\u003c/p>\n\u003cp>He turns away from the pressure of people and towards the support of a higher power, echoing that in the end “God got me” on “Silver Surfer.” “a ladder to the sky” concludes with keys and violin strings that break through like sun rays shattering rainclouds. “The north star don’t shine on the east too much,” he professes. Yet despite the exhaustion of insisting on a truth few recognize, in defense of a home many denigrate, demahjiae presses on, holding up a mirror to his own contradictions while casting prayers to soften the path.\u003cem> — Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2076548456/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Hook-Ups, \u003cem>Hook-Ups Presents… Hkup \u003c/em>(Self-released)\u003c/h2>\n\u003cp>Hook-Ups, the slacker-rock solo project of Castro Valley-based Maxwell Carver, released its most ambitious work yet in the half-hour LP \u003cem>Hook-Ups Presents… Hkup\u003c/em>. After a jingle plays for the fictional radio station HKUP, DJ Scotty2Shoes (voiced by Carver) wishes listeners good morning, introducing himself and his high-pitched, possibly avian co-host Jimmy (also Carver) as the Hook-Ups track “Crawlin’” plays underneath. The gambit is that we’re tuning into Scotty2Shoes’ radio hour as he sets up — and distracts us from — all-new Hook-Ups songs.\u003c/p>\n\u003cp>In the musical interludes — or, rather, the album — indie rock earworms like “Wcyd?” stand out with hypnotic loops of guitar and keys as backing vocals whisper and repeat. Meanwhile, in the album’s spoken parts, Scotty gives traffic updates on I-880, takes staticky local calls and needles Jimmy about his love life. Jimmy eventually leaves the show in anger, catalyzing the album’s second half: Jimmy’s replacement Albert (still Carver) asks Scotty to “turn that shit up” by way of introducing “Fine Whine.” And to win Jimmy back, Scotty plays Hook-Ups’ ebullient cover of Dion and the Belmonts’ 1959 “A Teenager in Love” — winning over, too, listeners who might’ve been initially unsure about the album’s out-there concept. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2396630951/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Beth Schenck, \u003cem>Dahlia\u003c/em> (Queen Bee Records)\u003c/h2>\n\u003cp>Part of the extraordinary 12/12 project spearheaded by Berkeley bassist Lisa Mezzacappa, which has released a dozen albums by improvisation-powered Bay Area ensembles, San Francisco alto saxophonist Beth Schenck’s \u003cem>Dahlia\u003c/em> is among the most striking blooms in this artfully curated garden.\u003c/p>\n\u003cp>Best known for her folk and chamber-jazz work with Jenny Scheinman, Schenck possesses a bright, gleaming tone and divergent impulses as a composer. Featuring a formidable cast with Mezzacappa, drummer Jordan Glenn, Cory Wright on tenor sax and bass clarinet and Schenck’s husband Matt Wrobel on guitar, \u003cem>Dahlia\u003c/em> toggles between Ornette Coleman-inspired laments (“Every Riven Thing”), tender tone poems (“Wayne’s Gone”) and sinuous, multi-layered investigations (“Playground”). Each mode contains its own particular rewards, starting with the sheer beauty of her sound. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0jHqElEG9tMkgMXk3IKQrV?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miles Minnick, \u003cem>Via Dolorosa\u003c/em> (Glo/Empire)\u003c/h2>\n\u003cp>On \u003cem>Via Dolorosa\u003c/em>, Miles Minnick, a former youth pastor from Pittsburg, cooks up some traditional West Coast hip-hop without using a single cuss word. There’s praise and affirmations, melodic hooks and that trademark Bay Area blap.\u003c/p>\n\u003cp>Minnick taps Brooke Valentine and Lacrae for features, as well as the Bay Area’s own G-Eazy, E-40 and Kamiyah. Keak Da Sneak is on “Bout Time,” which pulls from his 2003 track “Know What I’m Talking About.” And Mistah F.A.B. is on “Sick Wid It,” a retake of 2005’s “Super Sic Wit It.” Minnick samples Mac Dre’s “Not My Job” but shares a message that differs from Furl’s. “It’s not my job, can’t judge you / Live different, but we still gon’ love you,” Minnick says, summarizing the album’s ethos. The project, the fourth from Minnick in the past two years, is evidence that he’s making religious rap more relatable, not condescending — and he’s doing so without watering down the beats. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3695116657/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Bay Area Renegade Trax Vol. 2 \u003c/em>(No Bias)\u003c/h2>\n\u003cp>If you’re searching for the pulse of the Bay Area’s underground electronic music scene, look no further than \u003cem>Bay Area Renegade Trax Vol. 2\u003c/em>, a compilation featuring 31 eccentric, eclectic DJs and producers put together by local label No Bias.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These high-BPM bangers by artists including Bored Lord, Bastiengoat and DJ Juanny span house, juke, garage, drum and bass and more. They’re dirty, gritty and elastic — a rebuke to background music, and a manifesto for dancing at the forest rave until the sun comes up. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Whether working in hip-hop, spiritual jazz or punk, Bay Area artists didn't disappoint this year. ",
"status": "publish",
"parent": 0,
"modified": 1764799380,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=4149894761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/track=106152191/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=97838322/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2185729243/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2577981795/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2693444777/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=1253547124/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=658546348/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2076548456/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2396630951/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=3695116657/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 65,
"wordCount": 3418
},
"headData": {
"title": "The 20 Best Bay Area Albums of 2025 | KQED",
"description": "Whether working in hip-hop, spiritual jazz or punk, Bay Area artists didn't disappoint this year. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 20 Best Bay Area Albums of 2025",
"datePublished": "2025-12-01T12:25:45-08:00",
"dateModified": "2025-12-03T14:03:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "Best of 2025",
"sourceUrl": "https://www.kqed.org/arts/tag/best-of-2025",
"sticky": false,
"nprByline": "KQED Arts & Culture",
"nprStoryId": "kqed-13984148",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13984148/the-best-bay-area-albums-of-2025",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The year is almost over, and we’re working on our resolutions. Out: passively listening to algorithm-driven, \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-infested playlists\u003c/a>. In: letting the talented artists in your community move, surprise and even challenge you, restoring your faith in humanity.\u003c/p>\n\u003cp>Whether making hip-hop, punk, salsa or spiritual jazz, Bay Area artists didn’t disappoint this year. The KQED Arts & Culture team and contributors combed through 2025’s releases to bring you our favorite local music of the year. Turn up the volume and hit play. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6fiG4ui62dDneZQjMFh8ha?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jamel Griot, \u003cem>Sincerely, Jamel \u003c/em>(Remain Family Oriented Records)\u003c/h2>\n\u003cp>On \u003cem>Sincerely, Jamel\u003c/em>, Oakland rapper Jamel Griot invites us to witness his dark night of the soul, when grief cracks him open and forces him face himself, honestly and unflinchingly. Griot punctuates hard-hitting verses over contemplative, jazzy beats with diary entries, revealing how serial one-night stands turned into a coping mechanism, and how partying has disconnected him from his purpose. “Although you a self-centered n—, you aren’t selfish enough. Because a selfish person loves themselves,” he reads aloud from his journal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To find his way back to himself, Griot unpacks childhood trauma with a courageous vulnerability. His lyrics illuminate a new path forward, one that invites listeners to lovingly tend to their own scars. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2YjTKpjohCKRlShBvgWHqQ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rabiah Kabir, \u003cem>Jezebel: Rewritten \u003c/em>(Self-released)\u003c/h2>\n\u003cp>The song “Flute / Overture,” opens Rabiah Kabir’s \u003cem>Jezebel: Rewritten\u003c/em> with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute’s flow intertwines with comments about the historical importance of the instrument and the artist’s work to dispel sexist notions about flutists.\u003c/p>\n\u003cp>With the support of a full band, Oakland’s Kabir shows a range of a flute’s sonic capabilities. The song “Fin.” showcases the wind instrument’s mysticism. “The ReZident” offers a taste of flute funk. And the dark keys and heavy drums at the start of “I Crashed My Car” create an anxious tone that is ultimately resolved, climaxing in a flute run that’s as relaxing as a field of fresh lavender. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4149894761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kathryn Mohr, \u003cem>Waiting Room\u003c/em> (The Flenser)\u003c/h2>\n\u003cp>A bell’s hollow rings echo through a room. Static builds. Radio noise chatters in the distance. Sea waves crash. Someone (or something) scribbles. The field recordings that populate Kathryn Mohr’s \u003cem>Waiting Room\u003c/em> — self-recorded in an abandoned fish factory in Iceland — give a sense of isolation and melancholy, capturing the anxiety of anticipation.\u003c/p>\n\u003cp>Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener “Diver,” dissonant tracks weave between guitar-driven, ’90s grunge-inspired pieces. In “Petrified,” gentle vocals evoke violent visuals that dance above finger-plucked guitar. Mohr’s full-length debut asks its listeners to find beauty in decay, to sit in feelings of discomfort without the promise of catharsis. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1MTodq6IqzqFEav64mt1Jg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Michael Sneed, \u003cem>floaters at the buzzer!\u003c/em> (Michael Sneed/Create Music Group)\u003c/h2>\n\u003cp>Attention spans might be shrinking because of TikTok and Instagram, but rapper and producer Michael Sneed’s \u003cem>floaters at the buzzer!\u003c/em> beckons to be heard from start to finish. “I’ll be your guide, I got you,” Sneed croons on the opening track. From there he puffs out his chest on “blend*” featuring Bay Area trailblazer P-Lo.\u003c/p>\n\u003cp>On “town sh!t 4ever!,” Sneed and P-Lo reinterpret a classic by sampling Mistah F.A.B.’s legendary “N.E.W. Oakland.” The song features Ovrkast. and wrestles with the tension of being pushed out of your hometown yet still trying to love it despite the struggles. This contradiction crescendos with “still ain’t die!,” a trumpet-laced proclamation of the life Sneed and his kin insist on, in spite of the forces conspiring against their thriving. \u003cem>— Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=106152191/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>John Elliott, \u003cem>I Am John Mayer\u003c/em> (Self-released)\u003c/h2>\n\u003cp>When John Michael Mayer started making music in the Y2K era, he faced a problem: There was another musician on the internet named John Mayer. Vowing to battle for name recognition and acclaim in the public arena, he released song after song, none as schlocky as “Your Body Is a Wonderland,” and lost the fight. Now, the San Francisco musician forced to rechristen himself John Elliott has told the story in a catchy, cleverly written title track, “I Am John Mayer.”\u003c/p>\n\u003cp>Possessed of a Jonathan Richman sincerity and a John Darnielle expressiveness, Elliott’s a wide-eyed everyman who soaks up and sings about the world’s joys and pains alike. (Recall his \u003ca href=\"https://www.kqed.org/arts/13912499/song-jfk-drive-car-free-board-of-supervisors-sf\">one-minute song to elected officials about keeping JFK Drive car-free\u003c/a>.) On \u003cem>I Am John Mayer\u003c/em> (currently only available \u003ca href=\"https://www.thehereafterishere.com/store/p/i-am-john-mayer-digital-download\">through his website\u003c/a>, and coming soon to streaming), he’s in top form, including the heartstring-pulling “Out Here,” a plea to an unborn child hesitant to enter the world. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2rPy6g5DGQBsb7g96xXFGI?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jane Handcock, \u003cem>It’s Me, Not You \u003c/em>(Death Row Records/gamma.)\u003c/h2>\n\u003cp>\u003cem>It’s Me, Not You\u003c/em> marks a well-deserved ascent for Jane Handcock, the mega-talented Richmond-raised vocalist who’s spent years behind the scenes, penning lyrics for R&B and hip-hop greats like Kelly Rowland, Rick Ross, Tyrese and Teddy Riley. Now signed to the venerable Death Row Records, Handcock delivered a finely crafted album for the grown-and-sexy lover girls.\u003c/p>\n\u003cp>The effervescent mood of “Stare At Me” featuring Anderson .Paak feels like eclectic sliding through the clouds. The funky, horn-driven “Can’t Let Go” drips with sex appeal, and on “For the Views” — a missive to social-media lurkers — Handcock conjures the atmosphere of a smoke-filled lounge where one might exchange a furtive glance over the rim of a martini glass. \u003cem>It’s Me, Not You\u003c/em> proves Handcock has earned her spotlight and will continue to hold our attention for a long time. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=97838322/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spiritual Cramp, \u003ci>Rude\u003c/i> (Blue Grape Music)\u003c/h2>\n\u003cp>“What if I went back home to the Bay where I belong? / In the heart of San Francisco, just an hour away from home,” Spiritual Cramp’s Michael Bingham sings on “True Love (Is Hard To Find).” It’s the premise for \u003cem>Rude\u003c/em>, an eloquent new-wave punk love letter to the city that still holds the keys to his soul, even though he’s moved away.\u003c/p>\n\u003cp>Produced by the accomplished John Congleton, \u003cem>Rude\u003c/em> wears that heart on its sleeve at every turn, from the tantalizing melodies of “Automatic” to the endearingly self-deprecating “At My Funeral.” Sharon Van Etten guests on the gleaming “You’ve Got My Number,” a highlight within what should go down as a breakout effort for Spiritual Cramp, who are primed for big things in 2026. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2XeGkDrU1IX9hlqEId3GS3?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> (Patois Records)\u003c/h2>\n\u003cp>It’s rare indeed when an album makes you rethink the history of a genre, but by focusing on female salsa and Latin jazz artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> offers a deeply informed alternative view of the evolution of Latin music in the Bay Area. Without a dominant group to shape the rhythmic currents, the Bay Area Latin music scene has always cast a wide net. This two-disc anthology shows that same pan-Latin forces at work, showcasing excellent work by women from Venezuela, Cuba, Chile and Colombia and the U.S.\u003c/p>\n\u003cp>Both discs open with new music showcasing a brilliant cross-section of women players, many of whom lead their own bands. But it’s tracks like “Cosmo” by the Blazing Redheads, an all-female septet that coalesced at the end of the 1980s with a dance-inducing combination of jazz, funk and Latin beats, that make \u003cem>Renegade Queens\u003c/em> a continual source of delight. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/22nSF43OqkoSheKO58Fie1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Lil Yee, \u003cem>Life After Death\u003c/em> (G-Affair/Empire)\u003c/h2>\n\u003cp>“They say death is a deep sleep / Wake me up, it ain’t my time,” says San Francisco’s Lil Yee on \u003cem>Life After Death\u003c/em>. After being shot in March of this year, Yee’s latest project illustrates his pain, his family’s love and his devotion to a higher power.\u003c/p>\n\u003cp>He brings the audience into the hospital on “ICU” as he describes the feeling of flatlining. Yee yearns for romantic love on “Love Me FRFR,” and he stunts on tracks with Veeze, 22nd Jim and EBK Jaaybo. On “Chopper Zone,” Yee paints the perils of his community. “Wicked Man” is a blues song about sinister things happening to benevolent people. And on “Sunday Morning,” Yee shares his resilient mindstate after the shooting, and how he’s persevering through it all. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2185729243/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spellling, \u003cem>Portrait of My Heart\u003c/em> (Sacred Bones)\u003c/h2>\n\u003cp>On \u003cem>Portrait of My Heart\u003c/em>, Oakland art-pop luminary Spellling strips away ornate theatricality for punchy guitar rock that speaks straight into the soul of anyone who’s ever felt like an outcast: “I don’t belong here,” she wails on the title track, which simmers with inner turmoil before boiling over into a cathartic crescendo.\u003c/p>\n\u003cp>The sharply written album is a cinematic ride through alienation and grief. Spellling pushes the limits of her voice to belt, whisper and growl as she delicately unravels thorny emotions such as shame and fear, letting herself bleed as she narrates her internal battles. Guitarist Wyatt Overson’s distortion-heavy riffs and anthemic solos add weight to the gut punch of Spellling’s lyrical intensity. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2577981795/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Arts and Crafts, \u003cem>1000 Dancing Devils\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Prog jazz meets math rock meets influences from South Asia and North Africa in Arts and Crafts’ \u003cem>1000 Dancing Devils\u003c/em>. Guitarist Noam Teyssier, bassist Nadia Aquil and drummer Jeff Klein \u003ca href=\"https://www.linkedin.com/pulse/arts-crafts-1000-dancing-devils-review-ngo-core-2q9oc/\">say their inspirations span\u003c/a> Moroccan ouds, Bollywood films and the band Phish — specifically for the track “Roti,” the three-over-four rhythm from Phish’s “Buried Alive.”\u003c/p>\n\u003cp>The sounds originate from the San Francisco and Oakland band’s own communities and diasporas, combining and transmuting to form the groovy, upbeat album: Psychedelic opener “Oö” gives way to the cymbal crashes and pulsing surf rock of “Sidi Bouzid.” Named after a Moroccan city of Teyssier’s childhood, that track ends with a sample of the very musicians who played at Teyssier’s wedding. It’s personal and universal and wholly Bay Area. Blast the album during a winding car ride along the California coast, and you’ll find your head nodding, fingers reaching out of the open window to tap along. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2693444777/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Andrés Miguel Cervantes, \u003cem>Songs for the Seance\u003c/em> (Speakeasy Studios SF)\u003c/h2>\n\u003cp>Andrés Miguel Cervantes is a Western desperado whose journeys through the Sonoran and Mojave deserts and up the coast are at the crux of his latest album. \u003cem>Songs for the Seance\u003c/em> sounds like Hermanos Gutierrez backing Sturgill Simpson, and this is rarified air for a Bay Area artist.\u003c/p>\n\u003cp>Recorded on eight-track tape, sinister guitar, omnipresent pedal steel and twangy violin, garnished with harmonica, guide Cervantes’ rugged baritone staccato. “I saw the devil’s eyes in me,” the Oaklander laments on the title track, pleading to marauding spirits that he’s passionately trying to harness. It’s one of many wonderfully constructed tunes on an album that reveals Cervantes’ gifts as an essential emerging storyteller. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1253547124/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Cole Pulice, \u003cem>Land’s End Eternal \u003c/em>(Leaving Records)\u003c/h2>\n\u003cp>Cole Pulice’s work this decade showed improvisers all over the world a way forward for Coltrane-inspired spiritual-jazz saxophone, culminating in the pitch-shifted frenzy of 2023’s longform odyssey “If I Don’t See You in the Future, I’ll See You in the Pasture.” On their new album \u003cem>Land’s End Eternal\u003c/em>, the Oakland improviser takes a breather, pairing the first scratchings of their journey as a guitarist with gentle saxophone leads that snake across the stereo field like the cliff-hugging trails of the album’s namesake park.\u003c/p>\n\u003cp>Pulice cited Bay Area art-music legends Pauline Oliveros and Terry Riley as inspirations for their meditative approach on this record, but it’s guided just as much by the ineffable something that rolls in with the fog every night. \u003cem>— Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1fHEmXGVuCHiRI10E9gybP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Mr. Nobody\u003c/em> (Grand Nationxl/Create Music Group)\u003c/h2>\n\u003cp>“Fuck the middleman, I had to do it myself.” So begins Kevin Allen’s \u003cem>Mr. Nobody\u003c/em>, a 10-song manifesto from one of the Bay’s most prolific and underrated rappers. At this stage in his career, Allen’s got nothing more to prove, evidenced by the risk-taking on the breezy, exploratory R&B of his 2024 album \u003cem>Don’t Overthink It\u003c/em>.\u003c/p>\n\u003cp>This time around, Allen’s the grown lyricist claiming his spot at the Bay Area table, with a well-earned chip on his shoulder (“My baby mama only one who came to my court date,” he raps on “F.W.W.I.D.”). Add an undercurrent of gospel, a dash of the cinematic and a sidearm pitch of romance in the eighth inning (“Put You First”), and you’ve got a solid album with Allen’s voice and vision front and center — no middleman needed. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=658546348/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Raven, \u003cem>Gnosis\u003c/em> (Incienso)\u003c/h2>\n\u003cp>There’s certain music that timelessly soundtracks a pensive nighttime stroll in the big city. Everything but the Girl’s \u003cem>Walking Wounded\u003c/em> inspires you to find a dance floor and spill your emotions, while Adam F’s \u003cem>Colours\u003c/em> invites you to seek harmony in the chaos of your surroundings. San Francisco producer Raven’s \u003cem>Gnosis\u003c/em> (out on NYC’s Incienso label) has a similar spirit, emphasizing the organic sensory experiences of urban life amid an increasingly tech-saturated landscape: the moisture in the air, cold pavement, tall buildings, lights that flicker and thousands of people with their hands in their pockets making their way across town.\u003c/p>\n\u003cp>Wrapped in synths and dark textures, Raven’s ambient techno begs us to dance, but ultimately stays grounded in an IDM sensibility — like floating above a wormhole into a mysterious other side and winning the battle against its gravitational pull. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/47NKcUIh3dBEfKgCfIV475?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>demahjiae, \u003cem>what do you hear when you pray?\u003c/em> (Yalé/Empire)\u003c/h2>\n\u003cp>“How is this for alternative?” demahjiae begins, pushing back on being pigeonholed as an artist. \u003cem>what do you hear when you pray?\u003c/em> releases the expectation to have answers, offering a litany of questions instead. In a time when many stereotype the Bay Area as having a single sound, demahjiae puts his foot down, stubbornly crafting on his terms.\u003c/p>\n\u003cp>He turns away from the pressure of people and towards the support of a higher power, echoing that in the end “God got me” on “Silver Surfer.” “a ladder to the sky” concludes with keys and violin strings that break through like sun rays shattering rainclouds. “The north star don’t shine on the east too much,” he professes. Yet despite the exhaustion of insisting on a truth few recognize, in defense of a home many denigrate, demahjiae presses on, holding up a mirror to his own contradictions while casting prayers to soften the path.\u003cem> — Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2076548456/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Hook-Ups, \u003cem>Hook-Ups Presents… Hkup \u003c/em>(Self-released)\u003c/h2>\n\u003cp>Hook-Ups, the slacker-rock solo project of Castro Valley-based Maxwell Carver, released its most ambitious work yet in the half-hour LP \u003cem>Hook-Ups Presents… Hkup\u003c/em>. After a jingle plays for the fictional radio station HKUP, DJ Scotty2Shoes (voiced by Carver) wishes listeners good morning, introducing himself and his high-pitched, possibly avian co-host Jimmy (also Carver) as the Hook-Ups track “Crawlin’” plays underneath. The gambit is that we’re tuning into Scotty2Shoes’ radio hour as he sets up — and distracts us from — all-new Hook-Ups songs.\u003c/p>\n\u003cp>In the musical interludes — or, rather, the album — indie rock earworms like “Wcyd?” stand out with hypnotic loops of guitar and keys as backing vocals whisper and repeat. Meanwhile, in the album’s spoken parts, Scotty gives traffic updates on I-880, takes staticky local calls and needles Jimmy about his love life. Jimmy eventually leaves the show in anger, catalyzing the album’s second half: Jimmy’s replacement Albert (still Carver) asks Scotty to “turn that shit up” by way of introducing “Fine Whine.” And to win Jimmy back, Scotty plays Hook-Ups’ ebullient cover of Dion and the Belmonts’ 1959 “A Teenager in Love” — winning over, too, listeners who might’ve been initially unsure about the album’s out-there concept. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2396630951/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Beth Schenck, \u003cem>Dahlia\u003c/em> (Queen Bee Records)\u003c/h2>\n\u003cp>Part of the extraordinary 12/12 project spearheaded by Berkeley bassist Lisa Mezzacappa, which has released a dozen albums by improvisation-powered Bay Area ensembles, San Francisco alto saxophonist Beth Schenck’s \u003cem>Dahlia\u003c/em> is among the most striking blooms in this artfully curated garden.\u003c/p>\n\u003cp>Best known for her folk and chamber-jazz work with Jenny Scheinman, Schenck possesses a bright, gleaming tone and divergent impulses as a composer. Featuring a formidable cast with Mezzacappa, drummer Jordan Glenn, Cory Wright on tenor sax and bass clarinet and Schenck’s husband Matt Wrobel on guitar, \u003cem>Dahlia\u003c/em> toggles between Ornette Coleman-inspired laments (“Every Riven Thing”), tender tone poems (“Wayne’s Gone”) and sinuous, multi-layered investigations (“Playground”). Each mode contains its own particular rewards, starting with the sheer beauty of her sound. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0jHqElEG9tMkgMXk3IKQrV?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miles Minnick, \u003cem>Via Dolorosa\u003c/em> (Glo/Empire)\u003c/h2>\n\u003cp>On \u003cem>Via Dolorosa\u003c/em>, Miles Minnick, a former youth pastor from Pittsburg, cooks up some traditional West Coast hip-hop without using a single cuss word. There’s praise and affirmations, melodic hooks and that trademark Bay Area blap.\u003c/p>\n\u003cp>Minnick taps Brooke Valentine and Lacrae for features, as well as the Bay Area’s own G-Eazy, E-40 and Kamiyah. Keak Da Sneak is on “Bout Time,” which pulls from his 2003 track “Know What I’m Talking About.” And Mistah F.A.B. is on “Sick Wid It,” a retake of 2005’s “Super Sic Wit It.” Minnick samples Mac Dre’s “Not My Job” but shares a message that differs from Furl’s. “It’s not my job, can’t judge you / Live different, but we still gon’ love you,” Minnick says, summarizing the album’s ethos. The project, the fourth from Minnick in the past two years, is evidence that he’s making religious rap more relatable, not condescending — and he’s doing so without watering down the beats. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3695116657/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Bay Area Renegade Trax Vol. 2 \u003c/em>(No Bias)\u003c/h2>\n\u003cp>If you’re searching for the pulse of the Bay Area’s underground electronic music scene, look no further than \u003cem>Bay Area Renegade Trax Vol. 2\u003c/em>, a compilation featuring 31 eccentric, eclectic DJs and producers put together by local label No Bias.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These high-BPM bangers by artists including Bored Lord, Bastiengoat and DJ Juanny span house, juke, garage, drum and bass and more. They’re dirty, gritty and elastic — a rebuke to background music, and a manifesto for dancing at the forest rave until the sun comes up. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984148/the-best-bay-area-albums-of-2025",
"authors": [
"byline_arts_13984148"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10589",
"arts_22600",
"arts_10342",
"arts_1501",
"arts_3607",
"arts_10278",
"arts_17110",
"arts_831",
"arts_2519"
],
"featImg": "arts_13984261",
"label": "source_arts_13984148"
},
"arts_13983997": {
"type": "posts",
"id": "arts_13983997",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983997",
"score": null,
"sort": [
1763756075000
]
},
"guestAuthors": [],
"slug": "tyler-reese-daghe-whtvr-ep-house-music-oakland",
"title": "With a New House EP, Tyler Reese and Daghe Invite Oakland to the Dance Floor",
"publishDate": 1763756075,
"format": "standard",
"headTitle": "With a New House EP, Tyler Reese and Daghe Invite Oakland to the Dance Floor | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s been clear for years now that \u003ca href=\"https://www.instagram.com/lovetylerreese/?hl=en\">Tyler Reese\u003c/a> has something special — she just needed the right place to showcase her gifts. A church-trained, powerhouse vocalist who once dreamt of performing on Broadway, Reese works behind the scenes as an audio engineer and vocal producer at \u003ca href=\"https://www.studioxrecording.com/\">Studio X\u003c/a>, an \u003ca href=\"https://www.kqed.org/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland\">independent recording studio\u003c/a> in East Oakland.\u003c/p>\n\u003cp>On a recent, rainy Sunday evening, a fashionable crowd about 200-deep packed into the Black-owned vintage boutique ReLove to watch Reese step into the spotlight. To her surprise, fans not only belted the lyrics to her first-ever single, the sultry neo-soul track “Secondhand Smoke,” but also immediately caught the vibe of her new EP, \u003cem>WHTVR\u003c/em>, a five-track collection of flirty, dance floor-ready house songs that showcase Reese’s dynamic vocal range and playful personality.\u003c/p>\n\u003cp>“I walked out and I started crying,” Reese says. “After the show, so many people came up to me and they said, ‘Please keep doing this.’”\u003c/p>\n\u003cp>https://youtu.be/EZ1iGmf-iEA?si=4B_V4I9CTh2vwfas\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/daghe/?hl=en\">Daghe\u003c/a>, the Oakland DJ and tastemaker, executive-produced the project. He says Reese’s talent and open-mindedness, unclouded by ego or pressure to fit into a certain box, has reinvigorated his faith in the Bay Area music scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Before I worked on this project, I was over it, you know?” he says.\u003c/p>\n\u003cp>“Working with her just feels like early \u003ca href=\"https://www.kqed.org/arts/13938026/hbk-gang-iamsu-jay-anthony-p-lo-sage-gemini\">HBK\u003c/a>,” adds Daghe, referencing his hip-hop collective that dominated the Bay’s music scene in the 2010s. “Like, let’s just throw shit at the wall and see what sticks, let’s try this. … It’s getting me hyped.”\u003c/p>\n\u003cp>https://youtu.be/V9kjRQSgLis?si=nnK__SOHXvek2zA6\u003c/p>\n\u003cp>That playful spirit is infectious on the standout track “Chemical X,” where Reese’s angelic vocal runs are punctuated with playground chants over a drum ‘n’ bass beat. Vallejo rap star \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\">Nef the Pharaoh\u003c/a> ditches his usual gruffness for a surprisingly whimsical guest verse where he namechecks all the characters from \u003cem>The Powerpuff Girls\u003c/em> — not just Blossom, Bubbles and Buttercup, but deep cuts like Miss Sara Bellum.\u003c/p>\n\u003cp>“Daghe has videos of us playing patty cake and high-fiving and screaming in the booth during that session,” Reese says with a huge smile.\u003c/p>\n\u003cfigure id=\"attachment_13984000\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Reese. \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>WHTVR\u003c/em>, Reese knows she’s standing on the shoulders of other Black women who helped shape the past and present of house music, including \u003ca href=\"https://www.youtube.com/watch?v=iQTErSrzC64&list=RDiQTErSrzC64&start_radio=1&pp=oAcB\">Teedra Moses\u003c/a>, the New Orleans R&B singer who’s experienced a career revival thanks to Kaytranada’s popular remix of her 2009 hit “Be Your Girl.”\u003c/p>\n\u003cp>The Bay Area has made its own contributions to house thanks to artists like \u003ca href=\"https://www.rollingstone.com/feature/martha-wash-the-most-famous-unknown-singer-of-the-90s-speaks-out-231182/\">Martha Wash\u003c/a>, the legendary vocalist whose voice appeared on iconic hits like C+C Music Factory’s “Everybody Dance Now (Gonna Make You Sweat).” It took years (and a lawsuit) before she got proper credit. More recently, her story has inspired a greater appreciation for how she and many other church-raised Black singers have imbued house music with a spiritual ecstasy that fuels dance floors worldwide.\u003c/p>\n\u003cp>In Oakland and San Francisco, parties like \u003ca href=\"https://www.instagram.com/elementsoakland/?hl=en\">Elements\u003c/a> and \u003ca href=\"https://www.instagram.com/longlivesilk/?hl=en\">Silk\u003c/a> spotlight house music’s Black roots. But the genre’s also been heavily gentrified — so much so that the subgenre of Afro-house has \u003ca href=\"https://www.tiktok.com/@roadpodcast/video/7460675239085624607\">come to be associated with white people\u003c/a>.\u003c/p>\n\u003cp>Daghe says the Bay doesn’t have enough multicultural spaces for dance music. “I can’t get with white Afro-house, you know what I’m saying?” he adds. “I can’t get with the coffee shop shit.”\u003c/p>\n\u003cfigure id=\"attachment_13984001\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daghe \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daghe and other collaborators on \u003cem>WHTVR\u003c/em>, including rapper Kevin Allen, who produced two of the beats, come from the Bay’s hip-hop scene, and Daghe wasn’t sure if their audience would embrace the sound. But the studio sessions and the EP release show, put on by eclectic event producer Wine & Bowties, proved to him and Reese that the Bay Area is ready for some fresh energy. They’re fired up, and say there’s more on the way.\u003c/p>\n\u003cp>“It just made me get re-happy, re-excited about the Bay Area and what it can be,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“After the show, people were posting on Instagram, people were texting me and saying, ‘I love Oakland,’” Reese says. “It’s been ages since I’ve heard somebody say ‘I love Oakland,’ but people were leaving that show saying, ‘Nah, this is what makes me love this place.’ And that was an amazing affirmation.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "The singer and DJ embrace a playful, fresh sound on their collaborative project, ‘WHTVR.’",
"status": "publish",
"parent": 0,
"modified": 1763756075,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 813
},
"headData": {
"title": "Tyler Reese and Daghe Invite Oakland to the Dance Floor | KQED",
"description": "The singer and DJ embrace a playful, fresh sound on their collaborative project, ‘WHTVR.’",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Tyler Reese and Daghe Invite Oakland to the Dance Floor %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "With a New House EP, Tyler Reese and Daghe Invite Oakland to the Dance Floor",
"datePublished": "2025-11-21T12:14:35-08:00",
"dateModified": "2025-11-21T12:14:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13983997",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983997/tyler-reese-daghe-whtvr-ep-house-music-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been clear for years now that \u003ca href=\"https://www.instagram.com/lovetylerreese/?hl=en\">Tyler Reese\u003c/a> has something special — she just needed the right place to showcase her gifts. A church-trained, powerhouse vocalist who once dreamt of performing on Broadway, Reese works behind the scenes as an audio engineer and vocal producer at \u003ca href=\"https://www.studioxrecording.com/\">Studio X\u003c/a>, an \u003ca href=\"https://www.kqed.org/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland\">independent recording studio\u003c/a> in East Oakland.\u003c/p>\n\u003cp>On a recent, rainy Sunday evening, a fashionable crowd about 200-deep packed into the Black-owned vintage boutique ReLove to watch Reese step into the spotlight. To her surprise, fans not only belted the lyrics to her first-ever single, the sultry neo-soul track “Secondhand Smoke,” but also immediately caught the vibe of her new EP, \u003cem>WHTVR\u003c/em>, a five-track collection of flirty, dance floor-ready house songs that showcase Reese’s dynamic vocal range and playful personality.\u003c/p>\n\u003cp>“I walked out and I started crying,” Reese says. “After the show, so many people came up to me and they said, ‘Please keep doing this.’”\u003c/p>\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/EZ1iGmf-iEA'\n title='//www.youtube.com/embed/EZ1iGmf-iEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/daghe/?hl=en\">Daghe\u003c/a>, the Oakland DJ and tastemaker, executive-produced the project. He says Reese’s talent and open-mindedness, unclouded by ego or pressure to fit into a certain box, has reinvigorated his faith in the Bay Area music scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Before I worked on this project, I was over it, you know?” he says.\u003c/p>\n\u003cp>“Working with her just feels like early \u003ca href=\"https://www.kqed.org/arts/13938026/hbk-gang-iamsu-jay-anthony-p-lo-sage-gemini\">HBK\u003c/a>,” adds Daghe, referencing his hip-hop collective that dominated the Bay’s music scene in the 2010s. “Like, let’s just throw shit at the wall and see what sticks, let’s try this. … It’s getting me hyped.”\u003c/p>\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/V9kjRQSgLis'\n title='//www.youtube.com/embed/V9kjRQSgLis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That playful spirit is infectious on the standout track “Chemical X,” where Reese’s angelic vocal runs are punctuated with playground chants over a drum ‘n’ bass beat. Vallejo rap star \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\">Nef the Pharaoh\u003c/a> ditches his usual gruffness for a surprisingly whimsical guest verse where he namechecks all the characters from \u003cem>The Powerpuff Girls\u003c/em> — not just Blossom, Bubbles and Buttercup, but deep cuts like Miss Sara Bellum.\u003c/p>\n\u003cp>“Daghe has videos of us playing patty cake and high-fiving and screaming in the booth during that session,” Reese says with a huge smile.\u003c/p>\n\u003cfigure id=\"attachment_13984000\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Reese. \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>WHTVR\u003c/em>, Reese knows she’s standing on the shoulders of other Black women who helped shape the past and present of house music, including \u003ca href=\"https://www.youtube.com/watch?v=iQTErSrzC64&list=RDiQTErSrzC64&start_radio=1&pp=oAcB\">Teedra Moses\u003c/a>, the New Orleans R&B singer who’s experienced a career revival thanks to Kaytranada’s popular remix of her 2009 hit “Be Your Girl.”\u003c/p>\n\u003cp>The Bay Area has made its own contributions to house thanks to artists like \u003ca href=\"https://www.rollingstone.com/feature/martha-wash-the-most-famous-unknown-singer-of-the-90s-speaks-out-231182/\">Martha Wash\u003c/a>, the legendary vocalist whose voice appeared on iconic hits like C+C Music Factory’s “Everybody Dance Now (Gonna Make You Sweat).” It took years (and a lawsuit) before she got proper credit. More recently, her story has inspired a greater appreciation for how she and many other church-raised Black singers have imbued house music with a spiritual ecstasy that fuels dance floors worldwide.\u003c/p>\n\u003cp>In Oakland and San Francisco, parties like \u003ca href=\"https://www.instagram.com/elementsoakland/?hl=en\">Elements\u003c/a> and \u003ca href=\"https://www.instagram.com/longlivesilk/?hl=en\">Silk\u003c/a> spotlight house music’s Black roots. But the genre’s also been heavily gentrified — so much so that the subgenre of Afro-house has \u003ca href=\"https://www.tiktok.com/@roadpodcast/video/7460675239085624607\">come to be associated with white people\u003c/a>.\u003c/p>\n\u003cp>Daghe says the Bay doesn’t have enough multicultural spaces for dance music. “I can’t get with white Afro-house, you know what I’m saying?” he adds. “I can’t get with the coffee shop shit.”\u003c/p>\n\u003cfigure id=\"attachment_13984001\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daghe \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daghe and other collaborators on \u003cem>WHTVR\u003c/em>, including rapper Kevin Allen, who produced two of the beats, come from the Bay’s hip-hop scene, and Daghe wasn’t sure if their audience would embrace the sound. But the studio sessions and the EP release show, put on by eclectic event producer Wine & Bowties, proved to him and Reese that the Bay Area is ready for some fresh energy. They’re fired up, and say there’s more on the way.\u003c/p>\n\u003cp>“It just made me get re-happy, re-excited about the Bay Area and what it can be,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“After the show, people were posting on Instagram, people were texting me and saying, ‘I love Oakland,’” Reese says. “It’s been ages since I’ve heard somebody say ‘I love Oakland,’ but people were leaving that show saying, ‘Nah, this is what makes me love this place.’ And that was an amazing affirmation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983997/tyler-reese-daghe-whtvr-ep-house-music-oakland",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_1143"
],
"featImg": "arts_13984002",
"label": "arts"
},
"arts_13981607": {
"type": "posts",
"id": "arts_13981607",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13981607",
"score": null,
"sort": [
1758567756000
]
},
"guestAuthors": [],
"slug": "portola-festival-2025-pier-80-san-francisco-review-photos",
"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’",
"publishDate": 1758567756,
"format": "standard",
"headTitle": "Portola Festival Turned Pier 80 Into ‘San Frandisco’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"blocks": [],
"excerpt": "Sets from Dom Dolla, Peggy Gou and Christina Aguilera charged up a high-energy crowd of ravers and dancers.",
"status": "publish",
"parent": 0,
"modified": 1758570010,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 1252
},
"headData": {
"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’ | KQED",
"description": "Sets from Dom Dolla, Peggy Gou and Christina Aguilera charged up a high-energy crowd of ravers and dancers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Portola Festival Turned Pier 80 Into ‘San Frandisco’",
"datePublished": "2025-09-22T12:02:36-07:00",
"dateModified": "2025-09-22T12:40:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13981607",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos",
"authors": [
"11972"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_822",
"arts_22333",
"arts_1146"
],
"featImg": "arts_13981565",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"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.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"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.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=electronic-music": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 73,
"relation": "eq"
},
"items": [
"arts_13994268",
"arts_13994245",
"arts_13994137",
"arts_13994097",
"arts_13991955",
"arts_13991008",
"arts_13990263",
"arts_13989281",
"arts_13988094",
"arts_13984148",
"arts_13983997",
"arts_13981607"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_electronic-music": {
"isLoading": true
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"source_arts_13994137": {
"type": "terms",
"id": "source_arts_13994137",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13994097": {
"type": "terms",
"id": "source_arts_13994097",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13991955": {
"type": "terms",
"id": "source_arts_13991955",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13989281": {
"type": "terms",
"id": "source_arts_13989281",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984148": {
"type": "terms",
"id": "source_arts_13984148",
"meta": {
"override": true
},
"name": "Best of 2025",
"link": "https://www.kqed.org/arts/tag/best-of-2025",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_22068": {
"type": "terms",
"id": "arts_22068",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22068",
"found": true
},
"relationships": {},
"featImg": null,
"name": "festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22080,
"slug": "festivals",
"isLoading": false,
"link": "/arts/tag/festivals"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_22333": {
"type": "terms",
"id": "arts_22333",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22333",
"found": true
},
"relationships": {},
"name": "Portola Festival",
"slug": "portola-festival",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Portola Festival | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22345,
"isLoading": false,
"link": "/arts/tag/portola-festival"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_22662": {
"type": "terms",
"id": "arts_22662",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22662",
"found": true
},
"relationships": {},
"name": "Music",
"slug": "music",
"taxonomy": "interest",
"description": null,
"featImg": null,
"headData": {
"title": "Music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22674,
"isLoading": false,
"link": "/arts/interest/music"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_22219": {
"type": "terms",
"id": "arts_22219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22219",
"found": true
},
"relationships": {},
"name": "Minnesota Street Project",
"slug": "minnesota-street-project",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Minnesota Street Project | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22231,
"isLoading": false,
"link": "/arts/tag/minnesota-street-project"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_914": {
"type": "terms",
"id": "arts_914",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "914",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 932,
"slug": "zines",
"isLoading": false,
"link": "/arts/tag/zines"
},
"arts_1084": {
"type": "terms",
"id": "arts_1084",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1084",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Jose",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Jose Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1101,
"slug": "san-jose",
"isLoading": false,
"link": "/arts/tag/san-jose"
},
"arts_21861": {
"type": "terms",
"id": "arts_21861",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21861",
"found": true
},
"relationships": {},
"featImg": null,
"name": "South Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "South Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21873,
"slug": "south-bay",
"isLoading": false,
"link": "/arts/interest/south-bay"
},
"arts_6192": {
"type": "terms",
"id": "arts_6192",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6192",
"found": true
},
"relationships": {},
"featImg": null,
"name": "another planet entertainment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "another planet entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6204,
"slug": "another-planet-entertainment",
"isLoading": false,
"link": "/arts/tag/another-planet-entertainment"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_5564": {
"type": "terms",
"id": "arts_5564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "internet radio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "internet radio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5576,
"slug": "internet-radio",
"isLoading": false,
"link": "/arts/tag/internet-radio"
},
"arts_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"arts_22600": {
"type": "terms",
"id": "arts_22600",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22600",
"found": true
},
"relationships": {},
"name": "Best of 2025",
"slug": "best-of-2025",
"taxonomy": "tag",
"description": "The best movies, books, music, art, meals and more from the year.",
"featImg": null,
"headData": {
"title": "Best of 2025 | KQED Arts",
"description": "The best movies, books, music, art, meals and more from the year.",
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22612,
"isLoading": false,
"link": "/arts/tag/best-of-2025"
},
"arts_3607": {
"type": "terms",
"id": "arts_3607",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3607",
"found": true
},
"relationships": {},
"featImg": null,
"name": "experimental music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "experimental music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3619,
"slug": "experimental-music",
"isLoading": false,
"link": "/arts/tag/experimental-music"
},
"arts_17110": {
"type": "terms",
"id": "arts_17110",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17110",
"found": true
},
"relationships": {},
"featImg": null,
"name": "female musicians",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "female musicians Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17122,
"slug": "female-musicians",
"isLoading": false,
"link": "/arts/tag/female-musicians"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_2519": {
"type": "terms",
"id": "arts_2519",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2519",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latin music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latin music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2531,
"slug": "latin-music",
"isLoading": false,
"link": "/arts/tag/latin-music"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}