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(Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Or consider the scene Friday afternoon, when Pavement frontman Stephen Malkmus emerged from his tour bus, a few feet away from the long line of fans along MacArthur Boulevard. No one so much as twitched. Instead, they filed into the park and held aloft a Rasputin-looking septuagenarian crowdsurfer while Wednesday’s Karly Hartzman erupted in otherworldly screams, which she dedicated to those dead from the wars promoted by recently deceased Republican senator Lindsey Graham.\u003c/p>\n\n\n\n\u003cp>On Saturday, the Dirtbombs slayed the concrete amphitheater and Otoboke Beaver, from Kyoto, won over new recruits with their frenetic energy. Oakland’s Bitchfit played a furious stageless set on Sunday, and drag queen Kochina Rude performed as Pee-Wee Herman singing the Germs’ “Lexicon Devil.”\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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg\" alt=\"\" class=\"wp-image-13991783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For annual music festivals, this sort of renegade authenticity is all too easy to lose after a few years. A festival will have some success, organizers decide to maximize their investment, and slowly, \u003ca href=\"https://www.kqed.org/forum/2010101911699/cory-doctorow-on-why-the-internet-got-so-terrible-so-fast-and-what-to-do-about-it\">enshittification\u003c/a> creeps in: more branding, more advertising, more “experiences” and more pandering to people with money. Somehow the Foo Fighters are always involved.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mosswood has grown plenty in its various iterations over the past 17 years. It’s now large enough to attract Pavement, who amusingly covered part of “Stairway to Heaven”; Iggy Pop, who proved that one can still embody rock ‘n’ roll at 79; and Bikini Kill, who brought out Carrie Brownstein and Corin Tucker of Sleater-Kinney for “Rebel Girl.”\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/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg\" alt=\"\" class=\"wp-image-13991809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Pavement headlines the Mosswood Meltdown pre-party on July 17, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This year, a completed renovation of Mosswood Park also meant a more spacious layout. Newly situated at the north end of the park, the once-modest main stage was replaced by a more standard festival-issue truss stage, complete with a giant LED screen and tall scaffolding.\u003c/p>\n\n\n\n\u003cp>But wouldn’t you know it? It only took two days for a band, Snooper, to \u003ca href=\"https://www.instagram.com/p/DbBaMjeByT2/\">climb high up the scaffolding\u003c/a>. As for sponsors and branding, when representatives of a tequila company sponsoring the festival gave their onstage product spiel before Pavement’s set, the crowd responded with jeering and scattered boos. \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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg\" alt=\"\" class=\"wp-image-13991796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Iggy Pop performs during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>One could scoff at this as Gen-X groupthink, of sheep in different clothing. (To be sure, there is something of a uniform coalescing among this cohort. For the men, black zip-up hoodies, mesh caps, jeans and a beard. For the women, either a Nooworks jumpsuit or black skirt, denim jacket, nice-but-orthopedic shoes and a bob.) \u003c/p>\n\n\n\n\u003cp>But really, who likes advertising? Who wants to download some app? Who genuinely wants to go to a Verizon tent and talk about data plans? Who wants to stand in front of a plastic foliage wall with pink, faux-neon cursive, brought to you by some “artisanal” snack company actually owned by Nestle?\u003c/p>\n\n\n\n\u003cp>Not the grandparents and teenagers alike that flock to Mosswood each year, and not the organizers either, thank goodness.\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/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg\" alt=\"\" class=\"wp-image-13991807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The Dead Milkmen perform during Mosswood Meltdown on July 19, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Take the set finale of the Dead Milkmen, who played classics like “Punk Rock Girl” and “Life Is Shit” to a massive crowd that took over the small amphitheatre’s fences and trees on Sunday. (Sample improvised lyric: “Hey Stephen Miller! / I don’t wanna see ya / I think you’re the cause / of explosive diarrhea!”)\u003c/p>\n\n\n\n\u003cp>In the wings, Mosswood cofounder Marc Ribak stood watch, singing along and simultaneously trying in vain to curtail the steady flow of stagedivers.\u003c/p>\n\n\n\n\u003cp>But by the last song? Ribak said the hell with it, stood atop the monitors — and then leapt with abandon into the tattooed arms of the crowd.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\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/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg\" alt=\"\" class=\"wp-image-13991808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">John Waters introduces indie rock band Wednesday on the Field Stage during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. Waters returns as host for his 12th year at the annual punk music festival.\u003c/figcaption>\u003c/figure>\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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg\" alt=\"\" class=\"wp-image-13991782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1334\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED.jpg\" alt=\"\" class=\"wp-image-13991788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-element-caption\">Adam Walker pushes his 5-year-old daughter, Wynonna Walker, on a swing during Mosswood Meltdown on July 18, 2026, in Oakland. The family traveled from Jersey City, New Jersey. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED.jpg\" alt=\"\" class=\"wp-image-13991768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Karly Hartzman of Wednesday performs on the Field Stage during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. (Gustavo Hernandez 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=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED.jpg\" alt=\"\" class=\"wp-image-13991777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The Spits perform at the amphitheater stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED.jpg\" alt=\"\" class=\"wp-image-13991805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">B. Gallagher (right) and Jamie Ridener (center) cheer from the front row during Bikini Kill’s closing set at Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED.jpg\" alt=\"\" class=\"wp-image-13991803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Kathleen Hanna and Kathi Wilcox of Bikini Kill perform during the closing set of Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED.jpg\" alt=\"\" class=\"wp-image-13991799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Musician H.P. Mendoza of Peaches Christ’s Punk Pride poses for a portrait during Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED.jpg\" alt=\"\" class=\"wp-image-13991781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Festivalgoers browse vendor booths during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED.jpg\" alt=\"\" class=\"wp-image-13991774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Pavement headlines the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. (Gustavo Hernandez 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=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED.jpg\" alt=\"\" class=\"wp-image-13991789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Friends Raquel, left, and Lorna take a smoke break during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED.jpg\" alt=\"\" class=\"wp-image-13991776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Fans react during The Spits’ performance at the amphitheater stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED.jpg\" alt=\"\" class=\"wp-image-13991792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-element-caption\">Curator Kai Wada Roath offers $1 palm readings during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED.jpg\" alt=\"\" class=\"wp-image-13991765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Nico Banuelos of Richmond waits near the Field Stage before Wednesday’s performance during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. Banuelos said the band was the reason they bought a ticket. (Gustavo Hernandez 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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED.jpg\" alt=\"\" class=\"wp-image-13991780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Mannequin Pussy performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED.jpg\" alt=\"\" class=\"wp-image-13991791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Friends Graaciella E., left, and DJaune A. pose for a portrait during Mosswood Meltdown on July 18, 2026, in Oakland. They traveled from Southern California. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED.jpg\" alt=\"\" class=\"wp-image-13991767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cyrus Kayhan, left, and Akeylah Hernandez pose in the grass during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED.jpg\" alt=\"\" class=\"wp-image-13991798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A fan crowd surfs during The Dead Milkmen’s set at Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> is for the diehards. The people who heard that you’re supposed to stop caring about new music at age 30 and rolled their eyes. They don’t want distractions like a silent disco, a culinary stage or a “Chocolands,” and they sure as hell don’t need Vitamin B12 infusions. They sweat out their hangovers like they always have: in the pit while their new favorite band plays. \u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> is for the diehards. The people who heard that you’re supposed to stop caring about new music at age 30 and rolled their eyes. They don’t want distractions like a silent disco, a culinary stage or a “Chocolands,” and they sure as hell don’t need Vitamin B12 infusions. They sweat out their hangovers like they always have: in the pit while their new favorite band plays. \u003c/p>\n"
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"innerHTML": "\n\u003cp>That much was clear this past weekend at \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>’s Mosswood Park, where the opening acts, 20 in all, were sometimes celebrated more actively than headliners Pavement, Iggy Pop and Bikini Kill. On Sunday, Bikini Kill’s Kathleen Hanna even saluted the bands that hadn’t formed yet, but would after attending the festival: “I can’t wait,” she said, “to open for \u003cem>you\u003c/em> in 10 years.”\u003c/p>\n",
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"\n\u003cp>That much was clear this past weekend at \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>’s Mosswood Park, where the opening acts, 20 in all, were sometimes celebrated more actively than headliners Pavement, Iggy Pop and Bikini Kill. On Sunday, Bikini Kill’s Kathleen Hanna even saluted the bands that hadn’t formed yet, but would after attending the festival: “I can’t wait,” she said, “to open for \u003cem>you\u003c/em> in 10 years.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED.jpg\" alt=\"\" class=\"wp-image-13991806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Bikini Kill perform during the closing set of Mosswood Meltdown on July 19, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED.jpg\" alt=\"\" class=\"wp-image-13991806\"/>\u003cfigcaption class=\"wp-element-caption\">Bikini Kill perform during the closing set of Mosswood Meltdown on July 19, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Or consider the scene Friday afternoon, when Pavement frontman Stephen Malkmus emerged from his tour bus, a few feet away from the long line of fans along MacArthur Boulevard. No one so much as twitched. Instead, they filed into the park and held aloft a Rasputin-looking septuagenarian crowdsurfer while Wednesday’s Karly Hartzman erupted in otherworldly screams, which she dedicated to those dead from the wars promoted by recently deceased Republican senator Lindsey Graham.\u003c/p>\n",
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"\n\u003cp>Or consider the scene Friday afternoon, when Pavement frontman Stephen Malkmus emerged from his tour bus, a few feet away from the long line of fans along MacArthur Boulevard. No one so much as twitched. Instead, they filed into the park and held aloft a Rasputin-looking septuagenarian crowdsurfer while Wednesday’s Karly Hartzman erupted in otherworldly screams, which she dedicated to those dead from the wars promoted by recently deceased Republican senator Lindsey Graham.\u003c/p>\n"
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"innerHTML": "\n\u003cp>On Saturday, the Dirtbombs slayed the concrete amphitheater and Otoboke Beaver, from Kyoto, won over new recruits with their frenetic energy. Oakland’s Bitchfit played a furious stageless set on Sunday, and drag queen Kochina Rude performed as Pee-Wee Herman singing the Germs’ “Lexicon Devil.”\u003c/p>\n",
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"\n\u003cp>On Saturday, the Dirtbombs slayed the concrete amphitheater and Otoboke Beaver, from Kyoto, won over new recruits with their frenetic energy. Oakland’s Bitchfit played a furious stageless set on Sunday, and drag queen Kochina Rude performed as Pee-Wee Herman singing the Germs’ “Lexicon Devil.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg\" alt=\"\" class=\"wp-image-13991783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg\" alt=\"\" class=\"wp-image-13991783\"/>\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>For annual music festivals, this sort of renegade authenticity is all too easy to lose after a few years. A festival will have some success, organizers decide to maximize their investment, and slowly, \u003ca href=\"https://www.kqed.org/forum/2010101911699/cory-doctorow-on-why-the-internet-got-so-terrible-so-fast-and-what-to-do-about-it\">enshittification\u003c/a> creeps in: more branding, more advertising, more “experiences” and more pandering to people with money. Somehow the Foo Fighters are always involved.\u003c/p>\n",
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"\n\u003cp>For annual music festivals, this sort of renegade authenticity is all too easy to lose after a few years. A festival will have some success, organizers decide to maximize their investment, and slowly, \u003ca href=\"https://www.kqed.org/forum/2010101911699/cory-doctorow-on-why-the-internet-got-so-terrible-so-fast-and-what-to-do-about-it\">enshittification\u003c/a> creeps in: more branding, more advertising, more “experiences” and more pandering to people with money. Somehow the Foo Fighters are always involved.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Mosswood has grown plenty in its various iterations over the past 17 years. It’s now large enough to attract Pavement, who amusingly covered part of “Stairway to Heaven”; Iggy Pop, who proved that one can still embody rock ‘n’ roll at 79; and Bikini Kill, who brought out Carrie Brownstein and Corin Tucker of Sleater-Kinney for “Rebel Girl.”\u003c/p>\n",
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"\n\u003cp>Mosswood has grown plenty in its various iterations over the past 17 years. It’s now large enough to attract Pavement, who amusingly covered part of “Stairway to Heaven”; Iggy Pop, who proved that one can still embody rock ‘n’ roll at 79; and Bikini Kill, who brought out Carrie Brownstein and Corin Tucker of Sleater-Kinney for “Rebel Girl.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg\" alt=\"\" class=\"wp-image-13991809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Pavement headlines the Mosswood Meltdown pre-party on July 17, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg\" alt=\"\" class=\"wp-image-13991809\"/>\u003cfigcaption class=\"wp-element-caption\">Pavement headlines the Mosswood Meltdown pre-party on July 17, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>This year, a completed renovation of Mosswood Park also meant a more spacious layout. Newly situated at the north end of the park, the once-modest main stage was replaced by a more standard festival-issue truss stage, complete with a giant LED screen and tall scaffolding.\u003c/p>\n",
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"\n\u003cp>This year, a completed renovation of Mosswood Park also meant a more spacious layout. Newly situated at the north end of the park, the once-modest main stage was replaced by a more standard festival-issue truss stage, complete with a giant LED screen and tall scaffolding.\u003c/p>\n"
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"innerHTML": "\n\u003cp>But wouldn’t you know it? It only took two days for a band, Snooper, to \u003ca href=\"https://www.instagram.com/p/DbBaMjeByT2/\">climb high up the scaffolding\u003c/a>. As for sponsors and branding, when representatives of a tequila company sponsoring the festival gave their onstage product spiel before Pavement’s set, the crowd responded with jeering and scattered boos. \u003c/p>\n",
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"\n\u003cp>But wouldn’t you know it? It only took two days for a band, Snooper, to \u003ca href=\"https://www.instagram.com/p/DbBaMjeByT2/\">climb high up the scaffolding\u003c/a>. As for sponsors and branding, when representatives of a tequila company sponsoring the festival gave their onstage product spiel before Pavement’s set, the crowd responded with jeering and scattered boos. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg\" alt=\"\" class=\"wp-image-13991796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Iggy Pop performs during Mosswood Meltdown on July 18, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg\" alt=\"\" class=\"wp-image-13991796\"/>\u003cfigcaption class=\"wp-element-caption\">Iggy Pop performs during Mosswood Meltdown on July 18, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>One could scoff at this as Gen-X groupthink, of sheep in different clothing. (To be sure, there is something of a uniform coalescing among this cohort. For the men, black zip-up hoodies, mesh caps, jeans and a beard. For the women, either a Nooworks jumpsuit or black skirt, denim jacket, nice-but-orthopedic shoes and a bob.) \u003c/p>\n",
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"\n\u003cp>One could scoff at this as Gen-X groupthink, of sheep in different clothing. (To be sure, there is something of a uniform coalescing among this cohort. For the men, black zip-up hoodies, mesh caps, jeans and a beard. For the women, either a Nooworks jumpsuit or black skirt, denim jacket, nice-but-orthopedic shoes and a bob.) \u003c/p>\n"
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"innerHTML": "\n\u003cp>But really, who likes advertising? Who wants to download some app? Who genuinely wants to go to a Verizon tent and talk about data plans? Who wants to stand in front of a plastic foliage wall with pink, faux-neon cursive, brought to you by some “artisanal” snack company actually owned by Nestle?\u003c/p>\n",
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"\n\u003cp>But really, who likes advertising? Who wants to download some app? Who genuinely wants to go to a Verizon tent and talk about data plans? Who wants to stand in front of a plastic foliage wall with pink, faux-neon cursive, brought to you by some “artisanal” snack company actually owned by Nestle?\u003c/p>\n"
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"innerHTML": "\n\u003cp>Not the grandparents and teenagers alike that flock to Mosswood each year, and not the organizers either, thank goodness.\u003c/p>\n",
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"\n\u003cp>Not the grandparents and teenagers alike that flock to Mosswood each year, and not the organizers either, thank goodness.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg\" alt=\"\" class=\"wp-image-13991807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-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 Dead Milkmen perform during Mosswood Meltdown on July 19, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg\" alt=\"\" class=\"wp-image-13991807\"/>\u003cfigcaption class=\"wp-element-caption\">The Dead Milkmen perform during Mosswood Meltdown on July 19, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Take the set finale of the Dead Milkmen, who played classics like “Punk Rock Girl” and “Life Is Shit” to a massive crowd that took over the small amphitheatre’s fences and trees on Sunday. (Sample improvised lyric: “Hey Stephen Miller! / I don’t wanna see ya / I think you’re the cause / of explosive diarrhea!”)\u003c/p>\n",
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"\n\u003cp>Take the set finale of the Dead Milkmen, who played classics like “Punk Rock Girl” and “Life Is Shit” to a massive crowd that took over the small amphitheatre’s fences and trees on Sunday. (Sample improvised lyric: “Hey Stephen Miller! / I don’t wanna see ya / I think you’re the cause / of explosive diarrhea!”)\u003c/p>\n"
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"innerHTML": "\n\u003cp>In the wings, Mosswood cofounder Marc Ribak stood watch, singing along and simultaneously trying in vain to curtail the steady flow of stagedivers.\u003c/p>\n",
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"\n\u003cp>In the wings, Mosswood cofounder Marc Ribak stood watch, singing along and simultaneously trying in vain to curtail the steady flow of stagedivers.\u003c/p>\n"
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"innerHTML": "\n\u003cp>But by the last song? Ribak said the hell with it, stood atop the monitors — and then leapt with abandon into the tattooed arms of the crowd.\u003c/p>\n",
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"\n\u003cp>But by the last song? Ribak said the hell with it, stood atop the monitors — and then leapt with abandon into the tattooed arms of the crowd.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>More photos below.\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg\" alt=\"\" class=\"wp-image-13991808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">John Waters introduces indie rock band Wednesday on the Field Stage during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. Waters returns as host for his 12th year at the annual punk music festival.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg\" alt=\"\" class=\"wp-image-13991808\"/>\u003cfigcaption class=\"wp-element-caption\">John Waters introduces indie rock band Wednesday on the Field Stage during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. Waters returns as host for his 12th year at the annual punk music festival.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg\" alt=\"\" class=\"wp-image-13991782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg\" alt=\"\" class=\"wp-image-13991782\"/>\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED.jpg\" alt=\"\" class=\"wp-image-13991788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-1025x1536.jpg 1025w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Adam Walker pushes his 5-year-old daughter, Wynonna Walker, on a swing during Mosswood Meltdown on July 18, 2026, in Oakland. The family traveled from Jersey City, New Jersey.\u003c/figcaption>\u003c/figure>\n",
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"excerpt": "With headliners like Bikini Kill and Iggy Pop on an expanded stage, this year’s garage-punk soiree kept its underground roots.",
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"title": "Mosswood Meltdown 2026: Review and Photos of Oakland's Annual Punk Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> is for the diehards. The people who heard that you’re supposed to stop caring about new music at age 30 and rolled their eyes. They don’t want distractions like a silent disco, a culinary stage or a “Chocolands,” and they sure as hell don’t need Vitamin B12 infusions. They sweat out their hangovers like they always have: in the pit while their new favorite band plays. \u003c/p>\n\n\n\n\u003cp>That much was clear this past weekend at \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>’s Mosswood Park, where the opening acts, 20 in all, were sometimes celebrated more actively than headliners Pavement, Iggy Pop and Bikini Kill. On Sunday, Bikini Kill’s Kathleen Hanna even saluted the bands that hadn’t formed yet, but would after attending the festival: “I can’t wait,” she said, “to open for \u003cem>you\u003c/em> in 10 years.”\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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED.jpg\" alt=\"\" class=\"wp-image-13991806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_115-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Bikini Kill perform during the closing set of Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Or consider the scene Friday afternoon, when Pavement frontman Stephen Malkmus emerged from his tour bus, a few feet away from the long line of fans along MacArthur Boulevard. No one so much as twitched. Instead, they filed into the park and held aloft a Rasputin-looking septuagenarian crowdsurfer while Wednesday’s Karly Hartzman erupted in otherworldly screams, which she dedicated to those dead from the wars promoted by recently deceased Republican senator Lindsey Graham.\u003c/p>\n\n\n\n\u003cp>On Saturday, the Dirtbombs slayed the concrete amphitheater and Otoboke Beaver, from Kyoto, won over new recruits with their frenetic energy. Oakland’s Bitchfit played a furious stageless set on Sunday, and drag queen Kochina Rude performed as Pee-Wee Herman singing the Germs’ “Lexicon Devil.”\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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg\" alt=\"\" class=\"wp-image-13991783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_056-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For annual music festivals, this sort of renegade authenticity is all too easy to lose after a few years. A festival will have some success, organizers decide to maximize their investment, and slowly, \u003ca href=\"https://www.kqed.org/forum/2010101911699/cory-doctorow-on-why-the-internet-got-so-terrible-so-fast-and-what-to-do-about-it\">enshittification\u003c/a> creeps in: more branding, more advertising, more “experiences” and more pandering to people with money. Somehow the Foo Fighters are always involved.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mosswood has grown plenty in its various iterations over the past 17 years. It’s now large enough to attract Pavement, who amusingly covered part of “Stairway to Heaven”; Iggy Pop, who proved that one can still embody rock ‘n’ roll at 79; and Bikini Kill, who brought out Carrie Brownstein and Corin Tucker of Sleater-Kinney for “Rebel Girl.”\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/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg\" alt=\"\" class=\"wp-image-13991809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_027_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Pavement headlines the Mosswood Meltdown pre-party on July 17, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This year, a completed renovation of Mosswood Park also meant a more spacious layout. Newly situated at the north end of the park, the once-modest main stage was replaced by a more standard festival-issue truss stage, complete with a giant LED screen and tall scaffolding.\u003c/p>\n\n\n\n\u003cp>But wouldn’t you know it? It only took two days for a band, Snooper, to \u003ca href=\"https://www.instagram.com/p/DbBaMjeByT2/\">climb high up the scaffolding\u003c/a>. As for sponsors and branding, when representatives of a tequila company sponsoring the festival gave their onstage product spiel before Pavement’s set, the crowd responded with jeering and scattered boos. \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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg\" alt=\"\" class=\"wp-image-13991796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_095-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Iggy Pop performs during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>One could scoff at this as Gen-X groupthink, of sheep in different clothing. (To be sure, there is something of a uniform coalescing among this cohort. For the men, black zip-up hoodies, mesh caps, jeans and a beard. For the women, either a Nooworks jumpsuit or black skirt, denim jacket, nice-but-orthopedic shoes and a bob.) \u003c/p>\n\n\n\n\u003cp>But really, who likes advertising? Who wants to download some app? Who genuinely wants to go to a Verizon tent and talk about data plans? Who wants to stand in front of a plastic foliage wall with pink, faux-neon cursive, brought to you by some “artisanal” snack company actually owned by Nestle?\u003c/p>\n\n\n\n\u003cp>Not the grandparents and teenagers alike that flock to Mosswood each year, and not the organizers either, thank goodness.\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/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg\" alt=\"\" class=\"wp-image-13991807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926Mosswood-Meltdown_GH_097_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The Dead Milkmen perform during Mosswood Meltdown on July 19, 2026, in Oakland.\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Take the set finale of the Dead Milkmen, who played classics like “Punk Rock Girl” and “Life Is Shit” to a massive crowd that took over the small amphitheatre’s fences and trees on Sunday. (Sample improvised lyric: “Hey Stephen Miller! / I don’t wanna see ya / I think you’re the cause / of explosive diarrhea!”)\u003c/p>\n\n\n\n\u003cp>In the wings, Mosswood cofounder Marc Ribak stood watch, singing along and simultaneously trying in vain to curtail the steady flow of stagedivers.\u003c/p>\n\n\n\n\u003cp>But by the last song? Ribak said the hell with it, stood atop the monitors — and then leapt with abandon into the tattooed arms of the crowd.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\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/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg\" alt=\"\" class=\"wp-image-13991808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726Mosswood-Meltdown_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">John Waters introduces indie rock band Wednesday on the Field Stage during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. Waters returns as host for his 12th year at the annual punk music festival.\u003c/figcaption>\u003c/figure>\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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg\" alt=\"\" class=\"wp-image-13991782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_051-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Japanese punk band Otoboke Beaver performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1334\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED.jpg\" alt=\"\" class=\"wp-image-13991788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_066-KQED-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-element-caption\">Adam Walker pushes his 5-year-old daughter, Wynonna Walker, on a swing during Mosswood Meltdown on July 18, 2026, in Oakland. The family traveled from Jersey City, New Jersey. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED.jpg\" alt=\"\" class=\"wp-image-13991768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Karly Hartzman of Wednesday performs on the Field Stage during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. (Gustavo Hernandez 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=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED.jpg\" alt=\"\" class=\"wp-image-13991777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_037-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The Spits perform at the amphitheater stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED.jpg\" alt=\"\" class=\"wp-image-13991805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_112-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">B. Gallagher (right) and Jamie Ridener (center) cheer from the front row during Bikini Kill’s closing set at Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED.jpg\" alt=\"\" class=\"wp-image-13991803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_107-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Kathleen Hanna and Kathi Wilcox of Bikini Kill perform during the closing set of Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED.jpg\" alt=\"\" class=\"wp-image-13991799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_100-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Musician H.P. Mendoza of Peaches Christ’s Punk Pride poses for a portrait during Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED.jpg\" alt=\"\" class=\"wp-image-13991781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_047-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Festivalgoers browse vendor booths during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED.jpg\" alt=\"\" class=\"wp-image-13991774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_033-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Pavement headlines the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. (Gustavo Hernandez 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=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED.jpg\" alt=\"\" class=\"wp-image-13991789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_067-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Friends Raquel, left, and Lorna take a smoke break during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED.jpg\" alt=\"\" class=\"wp-image-13991776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_036-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Fans react during The Spits’ performance at the amphitheater stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1333\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED.jpg\" alt=\"\" class=\"wp-image-13991792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_076-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-element-caption\">Curator Kai Wada Roath offers $1 palm readings during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED.jpg\" alt=\"\" class=\"wp-image-13991765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_005-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Nico Banuelos of Richmond waits near the Field Stage before Wednesday’s performance during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. Banuelos said the band was the reason they bought a ticket. (Gustavo Hernandez 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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED.jpg\" alt=\"\" class=\"wp-image-13991780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_042-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Mannequin Pussy performs on the Field Stage during Mosswood Meltdown on July 18, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED.jpg\" alt=\"\" class=\"wp-image-13991791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071826MOSSWOOD-MELTDOWN_GH_071-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Friends Graaciella E., left, and DJaune A. pose for a portrait during Mosswood Meltdown on July 18, 2026, in Oakland. They traveled from Southern California. (Gustavo Hernandez 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/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED.jpg\" alt=\"\" class=\"wp-image-13991767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071726MOSSWOOD-MELTDOWN_GH_008-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cyrus Kayhan, left, and Akeylah Hernandez pose in the grass during the Mosswood Meltdown pre-party on July 17, 2026, in Oakland. (Gustavo Hernandez 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/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED.jpg\" alt=\"\" class=\"wp-image-13991798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/071926MOSSWOOD-MELTDOWN_GH_098-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A fan crowd surfs during The Dead Milkmen’s set at Mosswood Meltdown on July 19, 2026, in Oakland. (Gustavo Hernandez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-oakland-san-francisco-napa-music-festivals-summer-2026",
"title": "8 Bay Area Music Festivals You Don't Want to Miss This Summer",
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"headTitle": "8 Bay Area Music Festivals You Don’t Want to Miss This Summer | KQED",
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"content": "\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Whether you prefer huge multi-day \u003ca href=\"https://www.kqed.org/arts/tag/music-festivals\">music festivals\u003c/a> or small, genre-specific, curated experiences, the Bay Area has no shortage of live music this summer.\u003c/p>\n\u003cp>And while Latin music festival \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">La Onda\u003c/a> and the jazz- and hip-hop-focused \u003ca href=\"https://www.kqed.org/arts/13932390/blue-note-robert-glasper-rakim-chance-nas-mary-j-blige\">Black Radio Experience\u003c/a> are canceled this year, new events like Total Accord Fest have popped up to celebrate the Bay Area’s wealth of diverse talent.\u003c/p>\n\u003cp>Below you’ll find our summer music festival picks, ranging from the free and budget-friendly to splurge-worthy experiences.\u003c/p>\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 performing in 2025 at the Portola Festival in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com/experiences/#aftershows\">BottleRock After Dark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 19–24\u003cbr>\nVarious venues, Bay Area\u003cbr>\n$55–$357 per day\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>BottleRock, the Napa Valley festival with Foo Fighters, Backstreet Boys, Lorde, Sombr, Lil Wayne and Teddy Swims, is sold out. But the Napa Valley festival has two dozen After Dark concerts at venues in all corners of the Bay Area, each featuring an artist from its vast, intergenerational lineup. A few highlights: Ludacris headlines the Graton Resort in Rohnert Park on May 23, and synth-pop veterans Cut Copy take the stage at Berkeley’s UC Theatre on May 21. Southern rock sister duo Larkin Poe performs at the Guild Theatre in Menlo Park on May 22. As of this writing, LCD Soundsystem’s After Dark show at Napa Music Hall on May 22 is sold out. \u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performing in 2021 at Outside Lands in San Francisco’s Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.totalaccordagency.com/public-programming\">Total Accord Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 3–20\u003cbr>\nVarious venues, San Francisco\u003cbr>\nFree–$30 per day\u003c/em>\u003c/p>\n\u003cp>For those looking to get to know the Bay Area’s independent music scene, the Total Accord Festival is a roadmap to the region’s homegrown artists, storied nightclubs and eclectic dives. Local talent agency Total Accord takes over San Francisco clubs starting June 3 at the Bottom of the Hill with local rockers For Horses. On June 7, electronic pop band The Seshen performs with experimental singer-songwriter Aroma at the Richmond District’s classic 4 Star Theatre. (The evening will features a drag show and premiere of Total Accord’s documentary.) Conga-forward dance-pop duo Brijean headlines the Rickshaw Stop on June 11, and R&B singer Elujay, rapper Lovey and Family Not a Group vocalist SundaY perform at The Independent on June 13. Each show costs less than $30, and a few of them are free.\u003c/p>\n\u003cfigure id=\"attachment_13917881\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694.jpg\" alt=\"\" width=\"1024\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-768x493.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Colombian band Bomba Estéreo perform during the ‘Jungla’ Tour at The Plaza Live on August 10, 2018 in Orlando, Florida. \u003ccite>(Gerardo Mora/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 14–Aug. 16\u003cbr>\nSigmund Stern Grove, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Each summer, nearly 10,000 music fans fill the sloping, eucalyptus-lined hillside of Sigmund Stern Grove every Sunday for free live music. The concert series, now in its 89th year, gets underway on June 14 with Indian rock band Peter Cat Recording Co., followed by Colombian electro-pop outfit Bomba Estéreo on June 21. Dancehall-inspired EDM trio Major Lazer arrives with support from Richmond rapper Fijiana on July 5. Stern Grove concludes with its Big Picnic grand finale weekend, with Public Enemy headlining Aug. 15 and Al Green on Aug. 16. Although Stern Grove is free, fans must \u003ca href=\"https://www.sterngrove.org/galotterytickets\">enter a lottery\u003c/a> to secure tickets.\u003c/p>\n\u003cfigure id=\"attachment_13934346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. in 2023 at Hiero Day in Frank Ogawa Plaza, Oakland. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://lakefestoakland.com/\">LakeFest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 27\u003cbr>\nLake Merritt, Oakland\u003cbr>\n$12–$23\u003c/em>\u003c/p>\n\u003cp>LakeFest is the type of event where you can bring your friends, your toddler or your grandma — and actually, why not all of the above? The day of music and culture at Lake Merritt returns with headlining performances from R&B singers Vedo and Eric Bellinger, plus some top-tier East Bay rap talent: \u003ca href=\"https://www.kqed.org/arts/13972539/mani-draper-richmond-grand-nationxl\">Mani Draper\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B\u003c/a>. New at the festival this year is the Gospel Circle, a Christian-themed stage with a gospel choir “sing-off” competition, live music, stand-up comedy and more. Expect local vendors, barbecue and other delicious cuisine, all in a laid-back, family-friendly atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_13976929\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976929\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk.jpg\" alt=\"A Black man in glasses and a roll-up beanie smiles and gestures in front of a cluttered bookshelf\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 performing in 2025 at NPR’s Tiny Desk in Washington, D.C. \u003ccite>(Zayrha Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/midwaysf/events/nelly-e-40-july-4th-weekend-block-party-184141?utm_source=themidway&utm_medium=venuewebsite\">4th of July Weekend Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5\u003cbr>\nThe Midway, San Francisco\u003cbr>\n$49–$149\u003c/em>\u003c/p>\n\u003cp>Bay Area rap fans have a place to go dumb on Independence Day when Vallejo rap titan E-40 co-headlines a 4th of July bash at the Midway with “Hot In Herre” hitmaker Nelly. In addition to the chance to hear “Tell Me When To Go” and “Function” live, the party offers a stacked lineup of some of the Bay’s best DJs. Kehlani’s official selector Noodles will be behind the decks, along with the Valkyries’ own DJ Shellheart, the Warriors’ D-Sharp, Knowpa Slaps, DJ Mind Motion, Slowpoke and more.\u003c/p>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915730\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill performing in 2022 at Mosswood Meltdown in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 17–19\u003cbr>\nMosswood Park, Oakland\u003cbr>\n$99–$129 per day\u003c/em>\u003c/p>\n\u003cp>John Waters just celebrated his 80th birthday with a \u003ca href=\"https://www.reddit.com/r/Fauxmoi/comments/1sssveb/john_waters_celebrates_his_80th_birthday_with/\">poppers-themed cake\u003c/a>, so you know the filmmaker, provocateur and so-called “Pope of Trash” has no plans of slowing down. He returns to Oakland this July to host the punk festival Mosswood Meltdown, which kicks off via a Friday pre-party with indie rockers \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">Pavement\u003c/a> and Vivian Girls. The fun continues Saturday with sets from the 79-year-old “godfather of Punk” Iggy Pop, plus Japan’s Otoboke Beaver and Philly’s Mannequin Pussy. Riot grrrl icons Bikini Kill headline Sunday, after sets from the Return of Jackie and Judy (Fred Armisen and Carrie Brownstein’s Ramones tribute band), the Dead Milkmen and more.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs in 2022 at Portola Music Festival in San Francisco. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 7–9\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n$269+ per day\u003c/em>\u003c/p>\n\u003cp>Outside Lands is one of the Bay Area’s most popular festivals, in part because of its range. This year, pop it-girls Charli XCX and PinkPantheress share the stage with rap stars like GloRilla and Baby Keem, and buzzy rock bands Wet Leg, Turnstile and Geese. The Strokes, the XX and Modest Mouse offer a dose of indie nostalgia; Mariah the Scientist, Kwn and Destin Conrad represent the new school of R&B; and rap veterans Clipse promise razor-sharp lyrical prowess. On top of the packed musical lineup, Outside Lands also has a wealth of food, beverage and cannabis options, an open-air queer nightclub with drag shows and even a wedding chapel.\u003c/p>\n\u003cfigure id=\"attachment_13989440\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-2000x1375.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-160x110.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-768x528.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-1536x1056.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-2048x1408.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paper Jam. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfbaypopfest.com/\">SF Bay Popfest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 20–23\u003cbr>\nBottom of the Hill, San Francisco\u003cbr>\n$20–$30 per day\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco’s Bottom of the Hill has been a proving ground for new talent for 35 years; Oasis, Lizzo and Alanis Morissette all played the charmingly divey nightclub before they blew up. Unfortunately, as the surrounding neighborhood changes, it’ll \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">close its doors for the final time at the end of this year\u003c/a>. Before the venue says goodbye, it has a packed calendar of shows, including SF Bay Popfest. The mini festival features four days of stacked indie rock, punk and pop acts, including the Aislers Set, Tony Molina, Dear Nora, The Umbrellas, Paper Jam and many more.\u003c/p>\n\n",
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"excerpt": "Parks, concert halls and dive bars are lighting up with live music, from Oakland to San Francisco to Napa. ",
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"title": "8 Bay Area Music Festivals You Don't Want to Miss This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Whether you prefer huge multi-day \u003ca href=\"https://www.kqed.org/arts/tag/music-festivals\">music festivals\u003c/a> or small, genre-specific, curated experiences, the Bay Area has no shortage of live music this summer.\u003c/p>\n\u003cp>And while Latin music festival \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">La Onda\u003c/a> and the jazz- and hip-hop-focused \u003ca href=\"https://www.kqed.org/arts/13932390/blue-note-robert-glasper-rakim-chance-nas-mary-j-blige\">Black Radio Experience\u003c/a> are canceled this year, new events like Total Accord Fest have popped up to celebrate the Bay Area’s wealth of diverse talent.\u003c/p>\n\u003cp>Below you’ll find our summer music festival picks, ranging from the free and budget-friendly to splurge-worthy experiences.\u003c/p>\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 performing in 2025 at the Portola Festival in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com/experiences/#aftershows\">BottleRock After Dark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 19–24\u003cbr>\nVarious venues, Bay Area\u003cbr>\n$55–$357 per day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>BottleRock, the Napa Valley festival with Foo Fighters, Backstreet Boys, Lorde, Sombr, Lil Wayne and Teddy Swims, is sold out. But the Napa Valley festival has two dozen After Dark concerts at venues in all corners of the Bay Area, each featuring an artist from its vast, intergenerational lineup. A few highlights: Ludacris headlines the Graton Resort in Rohnert Park on May 23, and synth-pop veterans Cut Copy take the stage at Berkeley’s UC Theatre on May 21. Southern rock sister duo Larkin Poe performs at the Guild Theatre in Menlo Park on May 22. As of this writing, LCD Soundsystem’s After Dark show at Napa Music Hall on May 22 is sold out. \u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performing in 2021 at Outside Lands in San Francisco’s Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.totalaccordagency.com/public-programming\">Total Accord Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 3–20\u003cbr>\nVarious venues, San Francisco\u003cbr>\nFree–$30 per day\u003c/em>\u003c/p>\n\u003cp>For those looking to get to know the Bay Area’s independent music scene, the Total Accord Festival is a roadmap to the region’s homegrown artists, storied nightclubs and eclectic dives. Local talent agency Total Accord takes over San Francisco clubs starting June 3 at the Bottom of the Hill with local rockers For Horses. On June 7, electronic pop band The Seshen performs with experimental singer-songwriter Aroma at the Richmond District’s classic 4 Star Theatre. (The evening will features a drag show and premiere of Total Accord’s documentary.) Conga-forward dance-pop duo Brijean headlines the Rickshaw Stop on June 11, and R&B singer Elujay, rapper Lovey and Family Not a Group vocalist SundaY perform at The Independent on June 13. Each show costs less than $30, and a few of them are free.\u003c/p>\n\u003cfigure id=\"attachment_13917881\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694.jpg\" alt=\"\" width=\"1024\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1014882694-768x493.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Colombian band Bomba Estéreo perform during the ‘Jungla’ Tour at The Plaza Live on August 10, 2018 in Orlando, Florida. \u003ccite>(Gerardo Mora/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 14–Aug. 16\u003cbr>\nSigmund Stern Grove, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Each summer, nearly 10,000 music fans fill the sloping, eucalyptus-lined hillside of Sigmund Stern Grove every Sunday for free live music. The concert series, now in its 89th year, gets underway on June 14 with Indian rock band Peter Cat Recording Co., followed by Colombian electro-pop outfit Bomba Estéreo on June 21. Dancehall-inspired EDM trio Major Lazer arrives with support from Richmond rapper Fijiana on July 5. Stern Grove concludes with its Big Picnic grand finale weekend, with Public Enemy headlining Aug. 15 and Al Green on Aug. 16. Although Stern Grove is free, fans must \u003ca href=\"https://www.sterngrove.org/galotterytickets\">enter a lottery\u003c/a> to secure tickets.\u003c/p>\n\u003cfigure id=\"attachment_13934346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00055-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. in 2023 at Hiero Day in Frank Ogawa Plaza, Oakland. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://lakefestoakland.com/\">LakeFest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 27\u003cbr>\nLake Merritt, Oakland\u003cbr>\n$12–$23\u003c/em>\u003c/p>\n\u003cp>LakeFest is the type of event where you can bring your friends, your toddler or your grandma — and actually, why not all of the above? The day of music and culture at Lake Merritt returns with headlining performances from R&B singers Vedo and Eric Bellinger, plus some top-tier East Bay rap talent: \u003ca href=\"https://www.kqed.org/arts/13972539/mani-draper-richmond-grand-nationxl\">Mani Draper\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B\u003c/a>. New at the festival this year is the Gospel Circle, a Christian-themed stage with a gospel choir “sing-off” competition, live music, stand-up comedy and more. Expect local vendors, barbecue and other delicious cuisine, all in a laid-back, family-friendly atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_13976929\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976929\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk.jpg\" alt=\"A Black man in glasses and a roll-up beanie smiles and gestures in front of a cluttered bookshelf\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/E40.TinyDesk-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 performing in 2025 at NPR’s Tiny Desk in Washington, D.C. \u003ccite>(Zayrha Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/midwaysf/events/nelly-e-40-july-4th-weekend-block-party-184141?utm_source=themidway&utm_medium=venuewebsite\">4th of July Weekend Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 5\u003cbr>\nThe Midway, San Francisco\u003cbr>\n$49–$149\u003c/em>\u003c/p>\n\u003cp>Bay Area rap fans have a place to go dumb on Independence Day when Vallejo rap titan E-40 co-headlines a 4th of July bash at the Midway with “Hot In Herre” hitmaker Nelly. In addition to the chance to hear “Tell Me When To Go” and “Function” live, the party offers a stacked lineup of some of the Bay’s best DJs. Kehlani’s official selector Noodles will be behind the decks, along with the Valkyries’ own DJ Shellheart, the Warriors’ D-Sharp, Knowpa Slaps, DJ Mind Motion, Slowpoke and more.\u003c/p>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915730\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill performing in 2022 at Mosswood Meltdown in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 17–19\u003cbr>\nMosswood Park, Oakland\u003cbr>\n$99–$129 per day\u003c/em>\u003c/p>\n\u003cp>John Waters just celebrated his 80th birthday with a \u003ca href=\"https://www.reddit.com/r/Fauxmoi/comments/1sssveb/john_waters_celebrates_his_80th_birthday_with/\">poppers-themed cake\u003c/a>, so you know the filmmaker, provocateur and so-called “Pope of Trash” has no plans of slowing down. He returns to Oakland this July to host the punk festival Mosswood Meltdown, which kicks off via a Friday pre-party with indie rockers \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">Pavement\u003c/a> and Vivian Girls. The fun continues Saturday with sets from the 79-year-old “godfather of Punk” Iggy Pop, plus Japan’s Otoboke Beaver and Philly’s Mannequin Pussy. Riot grrrl icons Bikini Kill headline Sunday, after sets from the Return of Jackie and Judy (Fred Armisen and Carrie Brownstein’s Ramones tribute band), the Dead Milkmen and more.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs in 2022 at Portola Music Festival in San Francisco. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 7–9\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n$269+ per day\u003c/em>\u003c/p>\n\u003cp>Outside Lands is one of the Bay Area’s most popular festivals, in part because of its range. This year, pop it-girls Charli XCX and PinkPantheress share the stage with rap stars like GloRilla and Baby Keem, and buzzy rock bands Wet Leg, Turnstile and Geese. The Strokes, the XX and Modest Mouse offer a dose of indie nostalgia; Mariah the Scientist, Kwn and Destin Conrad represent the new school of R&B; and rap veterans Clipse promise razor-sharp lyrical prowess. On top of the packed musical lineup, Outside Lands also has a wealth of food, beverage and cannabis options, an open-air queer nightclub with drag shows and even a wedding chapel.\u003c/p>\n\u003cfigure id=\"attachment_13989440\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-2000x1375.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-160x110.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-768x528.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-1536x1056.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Paper-Jam-2-2048x1408.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paper Jam. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfbaypopfest.com/\">SF Bay Popfest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 20–23\u003cbr>\nBottom of the Hill, San Francisco\u003cbr>\n$20–$30 per day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s Bottom of the Hill has been a proving ground for new talent for 35 years; Oasis, Lizzo and Alanis Morissette all played the charmingly divey nightclub before they blew up. Unfortunately, as the surrounding neighborhood changes, it’ll \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">close its doors for the final time at the end of this year\u003c/a>. Before the venue says goodbye, it has a packed calendar of shows, including SF Bay Popfest. The mini festival features four days of stacked indie rock, punk and pop acts, including the Aislers Set, Tony Molina, Dear Nora, The Umbrellas, Paper Jam and many more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"title": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More",
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"headTitle": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More | KQED",
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"content": "\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>[aside postID='arts_13978802']For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve been \u003ca href=\"https://www.nme.com/news/music/pavements-harness-your-hopes-goes-viral-on-tiktok-again-3616479\">harnessing your hopes\u003c/a> for Pavement to return to the Bay Area, today’s your lucky day: the band has been announced as the kickoff headliners for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland.\u003c/p>\n\u003cp>In what’s being called a “pre-party” for the long-running independent festival, Pavement will play in Mosswood Park on Friday, July 17, with openers Vivian Girls, Wednesday and more, hosted by film legend \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">John Waters\u003c/a>. The festival will commence on Saturday and Sunday as usual; that full lineup will be announced in coming weeks.\u003c/p>\n\u003cp>[aside postID='arts_13978802']The Mosswood date marks the first Bay Area show in four years for Pavement. Founded in Stockton but now spread all over the country, the indie-rock stalwarts staunchly, if obtusely, reflected their Northern California roots in ragged-but-right aesthetics and songs like “Two States” and “Unfair.” (In 2022, during the band’s three-night run at the Masonic Auditorium in San Francisco, singer Stephen Malkmus changed the lyrics during “Fillmore Jive” to take a jovial swipe at Mill Valley.)\u003c/p>\n\u003cp>In 2024, the band released a surreal pseudo-documentary, \u003cem>Pavements\u003c/em>, that \u003ca href=\"https://www.reddit.com/r/pavement/comments/1kmkhic/saw_the_movie_and_am_so_confused/\">confused even their biggest fans\u003c/a>. Concurrently, \u003ca href=\"https://stereogum.com/2105993/pavement-harness-your-hopes-spotify/columns/sounding-board\">Pavement themselves have been perplexed at their obscure B-sides’ virality\u003c/a> on Spotify and TikTok.\u003c/p>\n\u003cp>In addition to expanding the festival to three days, the booking also represents a slight expansion of Mosswood’s garage-punk roots, planted when the festival was known as Burger Boogaloo; previous headliners over the years include Iggy Pop, Kim Gordon, X, the Mummies and Bikini Kill. But if the crowd climbing trees and craning their necks to \u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">watch Devo through the fence\u003c/a> last year is any indication, no one’s really being too picky about genre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for the Friday Pavement show are \u003ca href=\"https://mosswoodmeltdown.com/\">on sale now\u003c/a>. Separate from regular Saturday–Sunday festival tickets, they cost $99 for general admission and $165 for VIP. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been \u003ca href=\"https://www.nme.com/news/music/pavements-harness-your-hopes-goes-viral-on-tiktok-again-3616479\">harnessing your hopes\u003c/a> for Pavement to return to the Bay Area, today’s your lucky day: the band has been announced as the kickoff headliners for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland.\u003c/p>\n\u003cp>In what’s being called a “pre-party” for the long-running independent festival, Pavement will play in Mosswood Park on Friday, July 17, with openers Vivian Girls, Wednesday and more, hosted by film legend \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">John Waters\u003c/a>. The festival will commence on Saturday and Sunday as usual; that full lineup will be announced in coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Mosswood date marks the first Bay Area show in four years for Pavement. Founded in Stockton but now spread all over the country, the indie-rock stalwarts staunchly, if obtusely, reflected their Northern California roots in ragged-but-right aesthetics and songs like “Two States” and “Unfair.” (In 2022, during the band’s three-night run at the Masonic Auditorium in San Francisco, singer Stephen Malkmus changed the lyrics during “Fillmore Jive” to take a jovial swipe at Mill Valley.)\u003c/p>\n\u003cp>In 2024, the band released a surreal pseudo-documentary, \u003cem>Pavements\u003c/em>, that \u003ca href=\"https://www.reddit.com/r/pavement/comments/1kmkhic/saw_the_movie_and_am_so_confused/\">confused even their biggest fans\u003c/a>. Concurrently, \u003ca href=\"https://stereogum.com/2105993/pavement-harness-your-hopes-spotify/columns/sounding-board\">Pavement themselves have been perplexed at their obscure B-sides’ virality\u003c/a> on Spotify and TikTok.\u003c/p>\n\u003cp>In addition to expanding the festival to three days, the booking also represents a slight expansion of Mosswood’s garage-punk roots, planted when the festival was known as Burger Boogaloo; previous headliners over the years include Iggy Pop, Kim Gordon, X, the Mummies and Bikini Kill. But if the crowd climbing trees and craning their necks to \u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">watch Devo through the fence\u003c/a> last year is any indication, no one’s really being too picky about genre. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for the Friday Pavement show are \u003ca href=\"https://mosswoodmeltdown.com/\">on sale now\u003c/a>. Separate from regular Saturday–Sunday festival tickets, they cost $99 for general admission and $165 for VIP. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-concerts-2025-bay-area-live-music",
"title": "The 25 Best Concerts That Got Me Through 2025",
"publishDate": 1764856822,
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"headTitle": "The 25 Best Concerts That Got Me Through 2025 | KQED",
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"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>If it wasn’t the \u003ca href=\"https://www.kqed.org/news/12065196/3-out-of-4-california-families-with-young-kids-cant-afford-at-least-one-basic-need\">rising cost of living\u003c/a>, or the deaths of \u003ca href=\"https://www.kqed.org/arts/13970397/david-lynch-visionary-filmmaker-behind-twin-peaks-and-mulholland-drive-dies-at-78\">David Lynch\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13982372/dangelo-dies-at-51-soul-r-and-b-music-dead-oakland\">D’Angelo\u003c/a>, it was the \u003ca href=\"https://www.kqed.org/news/tag/donald-trump\">authoritarian regime\u003c/a>. This year brought daily reasons to bury oneself in music, this miraculous thing that’s been \u003ca href=\"https://www.kqed.org/arts/13978141/deerhoof-quits-spotify-daniel-ek-700-million-military-ai-investment\">sapped of its monetary value by parasitic streaming services in order to fund AI warfare\u003c/a> but which still provides transcendence and joy, especially in a live setting.\u003c/p>\n\u003cp>I went to 38 shows in 2025, and \u003ca href=\"https://www.kqed.org/author/gmeline\">only reviewed some of them\u003c/a> for KQED. (After 30 years of writing about music, it’s a form of self-care to \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">go to a show as a fan\u003c/a>, and not for work.) So here — reviewed in just one sentence each, complete with bad photos from my phone — are 25 concerts that got me through the year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg\" alt=\"\" width=\"1114\" height=\"1114\" class=\"aligncenter size-full wp-image-13984442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1114px) 100vw, 1114px\">\u003c/p>\n\u003cp>\u003cb>Noelle & the Deserters\u003c/b>\u003cbr>\n\u003ci>Feb. 18, Brick and Mortar Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The best country song about a city will forever be Waylon Jennings’ “\u003ca href=\"https://youtu.be/fJIFt9AsjqE?si=4Qwmvv7mlf3DT1iY\">Luckenbach, Texas\u003c/a>,” but when Noelle started singing “Taos,” her ode to the New Mexico town, I had to rearrange a mental list of runners-up. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg\" alt=\"\" width=\"1010\" height=\"1010\" class=\"aligncenter size-full wp-image-13984441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1010px) 100vw, 1010px\">\u003c/p>\n\u003cp>\u003cb>Gillian Welch & David Rawlings\u003c/b>\u003cbr>\n\u003ci>March 12, The Masonic, San Francisco\u003c/i> \u003c/p>\n\u003cp>Every Gillian Welch fan has their favorite songs, and while she and cosmic-folk guitarist extraordinaire David Rawlings didn’t play mine (“\u003ca href=\"https://youtu.be/MljrD0-DzqQ?si=rHSSMdb-ImhVvxES\">Wrecking Ball\u003c/a>,” a beautiful autobiography of life in 1980s Santa Cruz), their set at the Masonic still felt like a big, warm embrace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Subhumans\u003c/b>\u003cbr>\n\u003ci>April 18, 924 Gilman, Berkeley\u003c/i>\u003c/p>\n\u003cp>Somehow Greg Ginn is getting a ton of press for taking a half-baked “Black Flag” on the road with a bunch of new, young replacements, while the actually newsworthy punk-band lineup story is that the Subhumans have been playing with \u003ci>the same members since 1983!\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg\" alt=\"\" width=\"956\" height=\"956\" class=\"aligncenter size-full wp-image-13984444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>\u003cb>A Flock of Seagulls\u003c/b>\u003cbr>\n\u003ci>June 11, Courthouse Square, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>To answer your only two questions: no, he does not still have that haircut, and yes, they played “I Ran” (twice).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg\" alt=\"\" width=\"1294\" height=\"1294\" class=\"aligncenter size-full wp-image-13984469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-768x768.jpg 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>\u003cb>Pulp\u003c/b>\u003cbr>\n\u003ci>June 14, O2 Arena, London\u003c/i>\u003c/p>\n\u003cp>I was content to ignore the Oasis reunion this year and instead celebrate the true victors of 1990s Britpop, and on their home turf no less, a much splashier experience than \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">seeing them in downtown San Francisco last year for nine bucks\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg\" alt=\"\" width=\"1582\" height=\"1350\" class=\"aligncenter size-full wp-image-13984460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-1536x1311.jpg 1536w\" sizes=\"auto, (max-width: 1582px) 100vw, 1582px\">\u003c/p>\n\u003cp>\u003cb>Rob Clearfield Quartet \u003c/b>\u003cbr>\n\u003ci>June 17, Le Duc les Lombards, Paris\u003c/i>\u003c/p>\n\u003cp>Jazz pianist Bud Powell famously left New York for Paris in 1959, at the height of jazz’s commercial heights; 60 years later, jazz pianist Rob Clearfield similarly left Chicago during its jazz renaissance for Paris, where at this small-club show the audience was very attentive and reverent. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Beyoncé\u003c/b>\u003cbr>\n\u003ci>June 19, Stad de France, Paris\u003c/i>\u003c/p>\n\u003cp>In what’s been the worst year in my lifetime for feeling optimistic about America, I underwent a rare and sustained swell of hope while witnessing Beyoncé’s ambitious tour about our beautiful, injured country in the middle of a rapt European crowd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Ice-T\u003c/b>\u003cbr>\n\u003ci>June 27, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Types of Guys You See at an Ice-T show in 2025: guy in the balcony sucking down blunt after blunt nonstop; guy holding up a chess board throughout the entire show; guy wearing a Prince medallion who goes to Paisley Park twice a year; Rappin’ 4-Tay, in better health, thankfully; Santa Claus-looking guy, trying to pick fights; Jello Biafra, on stage, curtsying for the crowd; guy in full-on pimp wardrobe, long coat, matching hat, jewels and a cane; guy on stage with a cane who was not a pimp but just old; guy walking up O’Farrell Street drunkenly reciting “6 In the Mornin’” until interrupted by the sight of the Mitchell Brothers Theatre, which inspired a speech about Nina Hartley; guy wearing an authentic vanity license plate around his neck reading “ICE T SF”; and the guy standing front row center, whom Ice-T eventually just pulled up on stage to be his hype man for the last six songs. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg\" alt=\"\" width=\"1182\" height=\"1182\" class=\"aligncenter size-full wp-image-13984456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>\u003cb>Robert Earl Keen\u003c/b>\u003cbr>\n\u003ci>July 16, Hopmonk Tavern, Novato\u003c/i> \u003c/p>\n\u003cp>This one time in Corpus Christi at age 19 I walked a few blocks down to the bay, drank a Shiner Bock, stared at the water — one of those moments when time slows down a little — and wouldn’t you know it, years later in the backyard of a home for the blind I saw Robert Earl Keen play “\u003ca href=\"https://youtu.be/hAvONDXOgxc?si=tAP0HK4etyUsCvb0\">Corpus Christi Bay\u003c/a>,” a perfect song, and my life has not been the same since. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Mix Master Mike, Qbert and D-Styles \u003c/b>\u003cbr>\n\u003ci>July 19, SF Hip-Hop Festival, San Francisco\u003c/i>\u003c/p>\n\u003cp>I can’t shake the feeling that the geniuses who make up the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a>, individually and collectively, will go down in history as visionaries who were ahead of their time, space and galaxy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Devo\u003c/b>\u003cbr>\n\u003ci>July 19, from outside the fence, Oakland \u003c/i>\u003c/p>\n\u003cp>Once a year, one should \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listen to a show from outside a fence\u003c/a>, in the back alley or through the side door, like that “\u003ca href=\"https://mashable.com/article/in-the-bathroom-at-a-party-edits\">in the bathroom at a party\u003c/a>” TikTok trend from 2020.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg\" alt=\"\" width=\"1174\" height=\"918\" class=\"aligncenter size-full wp-image-13984467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-768x601.jpg 768w\" sizes=\"auto, (max-width: 1174px) 100vw, 1174px\">\u003c/p>\n\u003cp>\u003cb>Kreayshawn\u003c/b>\u003cbr>\n\u003ci>July 20, Mosswood Park, Oakland\u003c/i>\u003c/p>\n\u003cp>It’s a good thing that, by and large, everyone in the Bay gives love to Kreayshawn, who weathered a rotten deal in both the media and the record industry only to emerge at Mosswood Meltdown after a 10-year hiatus stronger and tighter and funnier than ever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg\" alt=\"\" width=\"1178\" height=\"1224\" class=\"aligncenter size-full wp-image-13984461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-768x798.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>La Gente SF\u003c/b>\u003cbr>\n\u003ci>July 27, Juilliard Park, Santa Rosa \u003c/i>\u003c/p>\n\u003cp>It’s hard to beat free music in the park, especially when you get Rafa Sarria Bustamante freestyling in Spanish about the Mission District over a live-band version of “I Got 5 On It.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>False Flag\u003c/b>\u003cbr>\n\u003ci>July 30, Castro Theater, San Francisco \u003c/i>\u003c/p>\n\u003cp>The punks took over the sidewalk in front of the Castro Theater, and confused and enchanted random passers-by while a crowd of 50 or so smoked weed, drank beer and started small pits under the marquee of the beloved ex-movie palace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Nine Inch Nails\u003c/b>\u003cbr>\n\u003ci>Aug. 6, Oakland Arena, Oakland\u003c/i> \u003c/p>\n\u003cp>When I am elected president, I will sign an anti-oversaturation bill limiting Trent Reznor and Atticus Ross to one motion picture score per year (with more time for Nine Inch Nails tours as a welcome byproduct).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The Jets\u003c/b>\u003cbr>\n\u003ci>Aug. 15, Golden 1 Center, Sacramento \u003c/i>\u003c/p>\n\u003cp>Each every-decade-or-so wave of the ’80s revival has unfairly passed up the Jets, who performed “\u003ca href=\"https://youtu.be/8a2GfvPF0_8?si=0RIYJFzbOvR9NFSu\">Crush On You\u003c/a>,” “\u003ca href=\"https://youtu.be/Dr1pZHPExlE?si=l3D2DKyQ-yAGQutJ\">You Got It All\u003c/a>,” “\u003ca href=\"https://youtu.be/UhrqvTUZQLo?si=pombtxW5WRUNPMEJ\">Cross My Broken Heart\u003c/a>” and “\u003ca href=\"https://youtu.be/K8LLF-46FN8?si=rNMQqNLBbVZUXYg5\">Make It Real\u003c/a>” as if no time has passed whatsoever in a nostalgia revue alongside performances by Lisa Lisa, Exposé, the Mary Jane Girls, J.J. Fad, Tag Team and one guy from Color Me Badd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Con Funk Shun\u003c/b>\u003cbr>\n\u003ci>Sept. 6, Mare Island, Vallejo\u003c/i>\u003c/p>\n\u003cp>Felton Pilate, the \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">secret bridge between Bay Area funk and Bay Area rap\u003c/a>, led his tight-as-hell, five-decades-strong band in a jubilant hometown set after receiving an honorary street renaming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg\" alt=\"\" width=\"1920\" height=\"2560\" class=\"aligncenter size-full wp-image-13984462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Louisiana Symphony Orchestra\u003c/b>\u003cbr>\n\u003ci>Sept. 11, New Marigny Theatre, New Orleans\u003c/i>\u003c/p>\n\u003cp>Performing on the floor of a small church to five rows of folding chairs (Davies Symphony Hall, how we take thee for granted), this skilled and adventurous ensemble tackled two world premieres, a Florence Price piece, a tango and a Britten suite with gusto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Kermit Ruffins\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003ci>Sept. 12, The Blue Nile, New Orleans \u003c/i>\u003c/p>\n\u003cp>“On the Sunny Side of the Street,” “Lovely Day,” “If I Only Had a Brain,” “What a Wonderful Word” — the hometown trumpet legend’s setlist was simply tremendous, complete with an oddly moving “Someday My Prince Will Come” that morphed into “The Star-Spangled Banner.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg\" alt=\"\" width=\"2378\" height=\"2378\" class=\"aligncenter size-full wp-image-13984455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg 2378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2000x2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 2378px) 100vw, 2378px\">\u003c/p>\n\u003cp>\u003cb>Buffalo Nichols\u003c/b>\u003cbr>\n\u003ci>Sept. 14, House of Blues, New Orleans \u003c/i>\u003c/p>\n\u003cp>I’d lost my mind the day before, \u003ca href=\"https://www.kqed.org/arts/13983190/juke-joint-sinners-filming-location-louisiana\">wandering through tall jungleland looking for the juke joint from \u003ci>Sinners\u003c/i>\u003c/a>; Nichols singing “How to Love” helped me find it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The New Trust\u003c/b>\u003cbr>\n\u003ci>Sept. 26, Henhouse Brewing Co., Santa Rosa\u003c/i> \u003c/p>\n\u003cp>Here’s to local bands that stay together for over 20 years and \u003ca href=\"https://thenewtrust.bandcamp.com/\">keep turning out exuberant songs\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Lucinda Williams\u003c/b>\u003cbr>\n\u003ci>Oct. 5, Golden Gate Park, San Francisco \u003c/i>\u003c/p>\n\u003cp>The edges of Lucinda’s voice are increasingly chiseled with a sawblade, and yet she still readily conjures an immediate peaceful bliss with \u003ca href=\"https://youtu.be/9MVRXBftMxM?si=XZLT1yrXL9FOUSF-\">just the first three notes\u003c/a> of a song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Andre Nickatina\u003c/b>\u003cbr>\n\u003ci>Oct. 16, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Smokin’, drinkin’, dancin’ — Nickatina’s fanbase is among the most unpretentious in the Bay, and the opener was a blues-playing former pimp from East Palo Alto with an out-of-tune acoustic guitar who sang songs about how we should all love one another.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Dijon\u003c/b>\u003cbr>\n\u003ci>Nov. 6, Fox Theater, Oakland \u003c/i>\u003c/p>\n\u003cp>I love Dijon’s album \u003ci>Baby\u003c/i>, and was warmed to see that he assembled a nine-piece band to recreate its strange brokenness, with a semicircle-and-sitting-down stage setup reminiscent of Miles Davis’ 1970s shows. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Too Short\u003c/b>\u003cbr>\n\u003ci>Nov. 9, History of the Bay, San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After an epic hour-and-a-half-hour panel discussion between Short, Spice 1, Rappin’ 4-Tay, CMG, B-Legit, D-Shot, Mistah FAB, Lord Rab, Dregs One and Davey D about the early years of Bay Area rap, DJ Cutso dropped “\u003ca href=\"https://youtu.be/OrUfz0AhQP0?si=pQDR3H7vnRii6x5Y\">Dope Fiend Beat\u003c/a>” for a perfect coda: Short delivering the nearly 40-year-old song and a stage full of peers-slash-fans, rapping along. \u003c/p>\n\n",
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"excerpt": "Live music provided transcendence and joy this year, as shown by Gabe Meline's steady calendar of shows.",
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"title": "The 25 Best Concerts That Got Me Through 2025 | KQED",
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"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>If it wasn’t the \u003ca href=\"https://www.kqed.org/news/12065196/3-out-of-4-california-families-with-young-kids-cant-afford-at-least-one-basic-need\">rising cost of living\u003c/a>, or the deaths of \u003ca href=\"https://www.kqed.org/arts/13970397/david-lynch-visionary-filmmaker-behind-twin-peaks-and-mulholland-drive-dies-at-78\">David Lynch\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13982372/dangelo-dies-at-51-soul-r-and-b-music-dead-oakland\">D’Angelo\u003c/a>, it was the \u003ca href=\"https://www.kqed.org/news/tag/donald-trump\">authoritarian regime\u003c/a>. This year brought daily reasons to bury oneself in music, this miraculous thing that’s been \u003ca href=\"https://www.kqed.org/arts/13978141/deerhoof-quits-spotify-daniel-ek-700-million-military-ai-investment\">sapped of its monetary value by parasitic streaming services in order to fund AI warfare\u003c/a> but which still provides transcendence and joy, especially in a live setting.\u003c/p>\n\u003cp>I went to 38 shows in 2025, and \u003ca href=\"https://www.kqed.org/author/gmeline\">only reviewed some of them\u003c/a> for KQED. (After 30 years of writing about music, it’s a form of self-care to \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">go to a show as a fan\u003c/a>, and not for work.) So here — reviewed in just one sentence each, complete with bad photos from my phone — are 25 concerts that got me through the year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg\" alt=\"\" width=\"1114\" height=\"1114\" class=\"aligncenter size-full wp-image-13984442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1114px) 100vw, 1114px\">\u003c/p>\n\u003cp>\u003cb>Noelle & the Deserters\u003c/b>\u003cbr>\n\u003ci>Feb. 18, Brick and Mortar Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The best country song about a city will forever be Waylon Jennings’ “\u003ca href=\"https://youtu.be/fJIFt9AsjqE?si=4Qwmvv7mlf3DT1iY\">Luckenbach, Texas\u003c/a>,” but when Noelle started singing “Taos,” her ode to the New Mexico town, I had to rearrange a mental list of runners-up. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg\" alt=\"\" width=\"1010\" height=\"1010\" class=\"aligncenter size-full wp-image-13984441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1010px) 100vw, 1010px\">\u003c/p>\n\u003cp>\u003cb>Gillian Welch & David Rawlings\u003c/b>\u003cbr>\n\u003ci>March 12, The Masonic, San Francisco\u003c/i> \u003c/p>\n\u003cp>Every Gillian Welch fan has their favorite songs, and while she and cosmic-folk guitarist extraordinaire David Rawlings didn’t play mine (“\u003ca href=\"https://youtu.be/MljrD0-DzqQ?si=rHSSMdb-ImhVvxES\">Wrecking Ball\u003c/a>,” a beautiful autobiography of life in 1980s Santa Cruz), their set at the Masonic still felt like a big, warm embrace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Subhumans\u003c/b>\u003cbr>\n\u003ci>April 18, 924 Gilman, Berkeley\u003c/i>\u003c/p>\n\u003cp>Somehow Greg Ginn is getting a ton of press for taking a half-baked “Black Flag” on the road with a bunch of new, young replacements, while the actually newsworthy punk-band lineup story is that the Subhumans have been playing with \u003ci>the same members since 1983!\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg\" alt=\"\" width=\"956\" height=\"956\" class=\"aligncenter size-full wp-image-13984444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>\u003cb>A Flock of Seagulls\u003c/b>\u003cbr>\n\u003ci>June 11, Courthouse Square, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>To answer your only two questions: no, he does not still have that haircut, and yes, they played “I Ran” (twice).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg\" alt=\"\" width=\"1294\" height=\"1294\" class=\"aligncenter size-full wp-image-13984469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-768x768.jpg 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>\u003cb>Pulp\u003c/b>\u003cbr>\n\u003ci>June 14, O2 Arena, London\u003c/i>\u003c/p>\n\u003cp>I was content to ignore the Oasis reunion this year and instead celebrate the true victors of 1990s Britpop, and on their home turf no less, a much splashier experience than \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">seeing them in downtown San Francisco last year for nine bucks\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg\" alt=\"\" width=\"1582\" height=\"1350\" class=\"aligncenter size-full wp-image-13984460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-1536x1311.jpg 1536w\" sizes=\"auto, (max-width: 1582px) 100vw, 1582px\">\u003c/p>\n\u003cp>\u003cb>Rob Clearfield Quartet \u003c/b>\u003cbr>\n\u003ci>June 17, Le Duc les Lombards, Paris\u003c/i>\u003c/p>\n\u003cp>Jazz pianist Bud Powell famously left New York for Paris in 1959, at the height of jazz’s commercial heights; 60 years later, jazz pianist Rob Clearfield similarly left Chicago during its jazz renaissance for Paris, where at this small-club show the audience was very attentive and reverent. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Beyoncé\u003c/b>\u003cbr>\n\u003ci>June 19, Stad de France, Paris\u003c/i>\u003c/p>\n\u003cp>In what’s been the worst year in my lifetime for feeling optimistic about America, I underwent a rare and sustained swell of hope while witnessing Beyoncé’s ambitious tour about our beautiful, injured country in the middle of a rapt European crowd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Ice-T\u003c/b>\u003cbr>\n\u003ci>June 27, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Types of Guys You See at an Ice-T show in 2025: guy in the balcony sucking down blunt after blunt nonstop; guy holding up a chess board throughout the entire show; guy wearing a Prince medallion who goes to Paisley Park twice a year; Rappin’ 4-Tay, in better health, thankfully; Santa Claus-looking guy, trying to pick fights; Jello Biafra, on stage, curtsying for the crowd; guy in full-on pimp wardrobe, long coat, matching hat, jewels and a cane; guy on stage with a cane who was not a pimp but just old; guy walking up O’Farrell Street drunkenly reciting “6 In the Mornin’” until interrupted by the sight of the Mitchell Brothers Theatre, which inspired a speech about Nina Hartley; guy wearing an authentic vanity license plate around his neck reading “ICE T SF”; and the guy standing front row center, whom Ice-T eventually just pulled up on stage to be his hype man for the last six songs. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg\" alt=\"\" width=\"1182\" height=\"1182\" class=\"aligncenter size-full wp-image-13984456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>\u003cb>Robert Earl Keen\u003c/b>\u003cbr>\n\u003ci>July 16, Hopmonk Tavern, Novato\u003c/i> \u003c/p>\n\u003cp>This one time in Corpus Christi at age 19 I walked a few blocks down to the bay, drank a Shiner Bock, stared at the water — one of those moments when time slows down a little — and wouldn’t you know it, years later in the backyard of a home for the blind I saw Robert Earl Keen play “\u003ca href=\"https://youtu.be/hAvONDXOgxc?si=tAP0HK4etyUsCvb0\">Corpus Christi Bay\u003c/a>,” a perfect song, and my life has not been the same since. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Mix Master Mike, Qbert and D-Styles \u003c/b>\u003cbr>\n\u003ci>July 19, SF Hip-Hop Festival, San Francisco\u003c/i>\u003c/p>\n\u003cp>I can’t shake the feeling that the geniuses who make up the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a>, individually and collectively, will go down in history as visionaries who were ahead of their time, space and galaxy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Devo\u003c/b>\u003cbr>\n\u003ci>July 19, from outside the fence, Oakland \u003c/i>\u003c/p>\n\u003cp>Once a year, one should \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listen to a show from outside a fence\u003c/a>, in the back alley or through the side door, like that “\u003ca href=\"https://mashable.com/article/in-the-bathroom-at-a-party-edits\">in the bathroom at a party\u003c/a>” TikTok trend from 2020.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg\" alt=\"\" width=\"1174\" height=\"918\" class=\"aligncenter size-full wp-image-13984467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-768x601.jpg 768w\" sizes=\"auto, (max-width: 1174px) 100vw, 1174px\">\u003c/p>\n\u003cp>\u003cb>Kreayshawn\u003c/b>\u003cbr>\n\u003ci>July 20, Mosswood Park, Oakland\u003c/i>\u003c/p>\n\u003cp>It’s a good thing that, by and large, everyone in the Bay gives love to Kreayshawn, who weathered a rotten deal in both the media and the record industry only to emerge at Mosswood Meltdown after a 10-year hiatus stronger and tighter and funnier than ever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg\" alt=\"\" width=\"1178\" height=\"1224\" class=\"aligncenter size-full wp-image-13984461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-768x798.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>La Gente SF\u003c/b>\u003cbr>\n\u003ci>July 27, Juilliard Park, Santa Rosa \u003c/i>\u003c/p>\n\u003cp>It’s hard to beat free music in the park, especially when you get Rafa Sarria Bustamante freestyling in Spanish about the Mission District over a live-band version of “I Got 5 On It.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>False Flag\u003c/b>\u003cbr>\n\u003ci>July 30, Castro Theater, San Francisco \u003c/i>\u003c/p>\n\u003cp>The punks took over the sidewalk in front of the Castro Theater, and confused and enchanted random passers-by while a crowd of 50 or so smoked weed, drank beer and started small pits under the marquee of the beloved ex-movie palace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Nine Inch Nails\u003c/b>\u003cbr>\n\u003ci>Aug. 6, Oakland Arena, Oakland\u003c/i> \u003c/p>\n\u003cp>When I am elected president, I will sign an anti-oversaturation bill limiting Trent Reznor and Atticus Ross to one motion picture score per year (with more time for Nine Inch Nails tours as a welcome byproduct).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The Jets\u003c/b>\u003cbr>\n\u003ci>Aug. 15, Golden 1 Center, Sacramento \u003c/i>\u003c/p>\n\u003cp>Each every-decade-or-so wave of the ’80s revival has unfairly passed up the Jets, who performed “\u003ca href=\"https://youtu.be/8a2GfvPF0_8?si=0RIYJFzbOvR9NFSu\">Crush On You\u003c/a>,” “\u003ca href=\"https://youtu.be/Dr1pZHPExlE?si=l3D2DKyQ-yAGQutJ\">You Got It All\u003c/a>,” “\u003ca href=\"https://youtu.be/UhrqvTUZQLo?si=pombtxW5WRUNPMEJ\">Cross My Broken Heart\u003c/a>” and “\u003ca href=\"https://youtu.be/K8LLF-46FN8?si=rNMQqNLBbVZUXYg5\">Make It Real\u003c/a>” as if no time has passed whatsoever in a nostalgia revue alongside performances by Lisa Lisa, Exposé, the Mary Jane Girls, J.J. Fad, Tag Team and one guy from Color Me Badd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Con Funk Shun\u003c/b>\u003cbr>\n\u003ci>Sept. 6, Mare Island, Vallejo\u003c/i>\u003c/p>\n\u003cp>Felton Pilate, the \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">secret bridge between Bay Area funk and Bay Area rap\u003c/a>, led his tight-as-hell, five-decades-strong band in a jubilant hometown set after receiving an honorary street renaming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg\" alt=\"\" width=\"1920\" height=\"2560\" class=\"aligncenter size-full wp-image-13984462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Louisiana Symphony Orchestra\u003c/b>\u003cbr>\n\u003ci>Sept. 11, New Marigny Theatre, New Orleans\u003c/i>\u003c/p>\n\u003cp>Performing on the floor of a small church to five rows of folding chairs (Davies Symphony Hall, how we take thee for granted), this skilled and adventurous ensemble tackled two world premieres, a Florence Price piece, a tango and a Britten suite with gusto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Kermit Ruffins\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003ci>Sept. 12, The Blue Nile, New Orleans \u003c/i>\u003c/p>\n\u003cp>“On the Sunny Side of the Street,” “Lovely Day,” “If I Only Had a Brain,” “What a Wonderful Word” — the hometown trumpet legend’s setlist was simply tremendous, complete with an oddly moving “Someday My Prince Will Come” that morphed into “The Star-Spangled Banner.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg\" alt=\"\" width=\"2378\" height=\"2378\" class=\"aligncenter size-full wp-image-13984455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg 2378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2000x2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 2378px) 100vw, 2378px\">\u003c/p>\n\u003cp>\u003cb>Buffalo Nichols\u003c/b>\u003cbr>\n\u003ci>Sept. 14, House of Blues, New Orleans \u003c/i>\u003c/p>\n\u003cp>I’d lost my mind the day before, \u003ca href=\"https://www.kqed.org/arts/13983190/juke-joint-sinners-filming-location-louisiana\">wandering through tall jungleland looking for the juke joint from \u003ci>Sinners\u003c/i>\u003c/a>; Nichols singing “How to Love” helped me find it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The New Trust\u003c/b>\u003cbr>\n\u003ci>Sept. 26, Henhouse Brewing Co., Santa Rosa\u003c/i> \u003c/p>\n\u003cp>Here’s to local bands that stay together for over 20 years and \u003ca href=\"https://thenewtrust.bandcamp.com/\">keep turning out exuberant songs\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Lucinda Williams\u003c/b>\u003cbr>\n\u003ci>Oct. 5, Golden Gate Park, San Francisco \u003c/i>\u003c/p>\n\u003cp>The edges of Lucinda’s voice are increasingly chiseled with a sawblade, and yet she still readily conjures an immediate peaceful bliss with \u003ca href=\"https://youtu.be/9MVRXBftMxM?si=XZLT1yrXL9FOUSF-\">just the first three notes\u003c/a> of a song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Andre Nickatina\u003c/b>\u003cbr>\n\u003ci>Oct. 16, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Smokin’, drinkin’, dancin’ — Nickatina’s fanbase is among the most unpretentious in the Bay, and the opener was a blues-playing former pimp from East Palo Alto with an out-of-tune acoustic guitar who sang songs about how we should all love one another.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Dijon\u003c/b>\u003cbr>\n\u003ci>Nov. 6, Fox Theater, Oakland \u003c/i>\u003c/p>\n\u003cp>I love Dijon’s album \u003ci>Baby\u003c/i>, and was warmed to see that he assembled a nine-piece band to recreate its strange brokenness, with a semicircle-and-sitting-down stage setup reminiscent of Miles Davis’ 1970s shows. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Too Short\u003c/b>\u003cbr>\n\u003ci>Nov. 9, History of the Bay, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After an epic hour-and-a-half-hour panel discussion between Short, Spice 1, Rappin’ 4-Tay, CMG, B-Legit, D-Shot, Mistah FAB, Lord Rab, Dregs One and Davey D about the early years of Bay Area rap, DJ Cutso dropped “\u003ca href=\"https://youtu.be/OrUfz0AhQP0?si=pQDR3H7vnRii6x5Y\">Dope Fiend Beat\u003c/a>” for a perfect coda: Short delivering the nearly 40-year-old song and a stage full of peers-slash-fans, rapping along. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mosswood-meltdown-2025-john-waters-devo-bratmobile",
"title": "6 Reasons Why John Waters Loves Hosting Mosswood Meltdown",
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"headTitle": "6 Reasons Why John Waters Loves Hosting Mosswood Meltdown | KQED",
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"content": "\u003cp>John Waters has been \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a>’s formidably filthy emcee for more than a decade — a legendary subversive whose gravitas fits the Oakland fest’s particular vibe. \u003c/p>\n\u003cp>“I like punks; they’re my people, I would feel the most comfortable in the punk world than any other minority world,” the filmmaker, author, comedian and all-around trash icon tells KQED. “I look forward to it every year.” \u003c/p>\n\u003cp>Waters — who keeps an apartment in San Francisco but calls the East Coast home — returns to the Mosswood stage once again \u003ca href=\"https://mosswoodmeltdown.com/\">July 19 and 20\u003c/a>. The 79-year-old will helm the festival stage, telling jokes and stories as he introduces headliners Devo, Osees, the Exploding Hearts and Bratmobile, as well as festival favorites and friends like \u003ca href=\"https://www.kqed.org/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place\">Shannon and the Clams\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13968062']“The audience at Mosswood Meltdown shares John’s sense of humor for the arcane,” says festival co-founder Marc Ribak, who notes that he and his wife Amy Carver watched Pink Flamingos on their first date. “John fully embraces the Mosswood Meltdown audience as well. And that’s exactly why he is the quintessential part of [the festival].” \u003c/p>\n\u003cp>The Clams singer/bassist Shannon Shaw is quick to affirm Waters’ punk cred. “Of course John is punk!!!!” she enthused via email. “He’s the lantern we all flutter to. He understands the fringes of society cuz he lives there! He has made it a place to be celebrated and have fun and come together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters might be the oldest (but certainly not crustiest) punk on stage, but he feels right at home. The forever-delinquent and master of cult madness recounts the many reasons why he loves Mosswood Meltdown — from senior citizen gutter punks to seeing his friends starstruck. \u003c/p>\n\u003cfigure id=\"attachment_13915763\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg\" alt=\"A woman with a big blond '60s-inspired hairdo looks down at her guitar, behind a mic stand. She is wearing a bright pink blouse and matching lipstick\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw performing solo at Mosswood Meltdown on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Waters loves to up the punx\u003c/h2>\n\u003cp>Besides the cash and an affinity for the Bay’s cooler summers, Waters has hosted Mosswood Meltdown (and, formerly, Burger Boogaloo) nearly a dozen times simply because he loves punks. \u003c/p>\n\u003cp>“They’re very opinionated; they love each other and kind of hate everybody else,” Waters says. “They used to stage dive, but they’re too heavy now.”\u003c/p>\n\u003cp>Punk humor aside, Mosswood Meltdown “really has a great attitude,” he says. Whether you’re a hardcore kid or an aging punk, Waters sees you. \u003c/p>\n\u003cp>“Punks their whole life have been told they look terrible, ‘Why would you act like that?’” Waters reflects. “So they love to be together and celebrate their behavior that they always loved doing … They all used to be juvenile delinquents, but now they’re celebrated as adult delinquents.” \u003c/p>\n\u003ch2>John Waters does it for the children\u003c/h2>\n\u003cp>While Mosswood Meltdown is known to traffic in legends, popular punk and punk-adjacent groups, and highly anticipated reunions, the fest also features up-and-comers. Waters is all for it — particularly as a recruiting tool. \u003c/p>\n\u003cp>“They say gay people recruit; we punks really recruit,” he says. “It’s like, ‘There’s one! Get that kid!’ because we need young ones so we can suck their blood out and get it to Iggy Pop so he can live forever.”\u003cbr>\nMosswood is an all-ages festival where you’re as likely to glimpse a 60-something punk in the pit as you are a Gen Xer who saw Crimpshrine at Gilman back when. Audiencegoers include young skinheads, tough tweens in baby Docs and even a few normies with good taste. \u003c/p>\n\u003cfigure id=\"attachment_13915751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maddie Barbee (left) and Grace Sykes at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Waters, it’s particularly important for young people to carry on the torch. “Eventually all the punk groups are going to be like the Drifters now, where none of them are the original people,” he says. “Maybe one year we’ll have all cover punks.” \u003c/p>\n\u003cp>When asked what punk icon he would want to cover in a fictitious band, Waters doesn’t miss a beat: GG Allin. \u003c/p>\n\u003ch2>Mosswood brings up good memories\u003c/h2>\n\u003cp>Waters has his favored Bay haunts: the vintage pulp paperback purveyors \u003ca href=\"https://www.kayobooks.com/\">Kayo Books\u003c/a>; Oakland’s Thee Stork Club, which he \u003ca href=\"https://brokeassstuart.com/2022/06/03/john-waters-to-help-open-thee-stork-club-in-oakland/\">helped re-open\u003c/a> and where he held a 2024 \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/oakland-club-hosts-birthday-celebration-for-famed-director-john-waters/\">birthday celebration\u003c/a>/storytelling performance; and the Great American Music Hall, host to his annual “A John Waters Christmas” show. But being at Mosswood reminds him of one of one of his old-time locales — the long-shuttered \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Deaf Club\u003c/a> on Valencia. \u003c/p>\n\u003cp>“That was the first punk place in San Francisco I hung out,” Waters says of the deaf community center where bands like The Offs, the Avengers and the Dead Kennedys played for 18 legendary months. “It was the best punk club ever.”\u003c/p>\n\u003cp>[aside postID='arts_13956541']The scene sounds too strange to be real, more fit of one of the off-kilter universes in Waters’ own films. Maybe there’s a Deaf Club in the world of \u003cem>Cry Baby\u003c/em> or \u003cem>A Dirty Shame\u003c/em>. “It didn’t last long because the neighbors \u003ci>really\u003c/i> hated it,” Waters recalls. “It was too good to last forever.” \u003c/p>\n\u003ch2>He gets to hang with his friends\u003c/h2>\n\u003cp>After all his years at Mosswood, Waters has developed deep friendships in the scene. He’s gotten to know festival founders Marc and Amy, and is friends with Shannon Shaw “in real life.” He counts artist and Hunx and His Punx frontman Seth Bogart as a friend; the two will be selling collaborative merch at this year’s Mosswood for the first time. \u003c/p>\n\u003cp>“I’ve gotten to know people,” Waters says of his longstanding friendships. “Oakland is a little bit like Baltimore in some ways, but I feel at home there.” \u003c/p>\n\u003cfigure id=\"attachment_13915778\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Waters actually watches the bands\u003c/h2>\n\u003cp>In proper (or rather, common) punk fashion, there’s no fancy backstage area at the festival where Waters can sequester himself. And he wouldn’t want to anyway. When he’s not prepping for his host duties, he’s watching performers. \u003c/p>\n\u003cp>He reels off a list of favorites: Amyl and the Sniffers, the Damned, “of course Iggy, who was in \u003cem>Cry Baby\u003c/em>,” crowd-pleasers like Devo and the Jesus and Mary Chain. “The Linda Lindas, when they were, like, \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">punk rock children\u003c/a> — that was great,” Waters says. Even after over a decade as host, Waters says he remains amazed at the freshness and confidence of the groups that play Mosswood.\u003c/p>\n\u003cp>Beyond the receptive audience showing up for their favorite acts, the performers themselves show up for their friends and heroes. Backstage can be something of a love-in. \u003c/p>\n\u003cp>“Famous people in the punk rock world are just as interested to meet other famous punk rock groups. They’re starstruck too, and I like to see that,” Waters says. “No one acts like a superstar, but they all act like they’re impressed with each other.” \u003c/p>\n\u003cp>Though he won’t name names from the Mosswood roster (Waters may have put the filthiest people alive on screen, but he knows how to keep their secrets), this particular scene shows up for each other, he says — with the earnestness of Tracy Turnblad.\u003c/p>\n\u003cfigure id=\"attachment_13915744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Waters introduces Pansy Division at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mosswood crowd proves you’re never too old to be punk\u003c/h2>\n\u003cp>“These are the kind of rock stars that impress me,” Waters says. “They’ve somehow been able to survive, especially the older ones, and be angry and crazy and not look silly or pitiful. When you have an extreme style when you’re young, it’s really hard to figure out how to finesse that as you get older, but it does very well there.” \u003c/p>\n\u003cp>But, Waters warns, “You can also be cringy if you try to act young when you’re 90. Sometimes you \u003ci>are\u003c/i> too old to pogo dance.” Pausing, he quickly reevaluates his dance politics: “Actually, that would be alright. You sometimes are too old to do the funky chicken at a wedding, but you’re never too old to pogo.” \u003c/p>\n\u003cp>Waters envisions a senior slam dance at a retirement community. “Sometimes the bands that are playing here \u003ci>are\u003c/i> in retirement communities … or they could be,” he says. The pit at Waters’ Home for Elder Punks would be slow-moving, only for those over age 80 and with good insurance. He muses, “Their bones are brittle, so you better catch them when they stage dive!”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mosswood Meltdown takes place July 19–20, 2025 at Mosswood Park (3612 Webster St., Oakland). \u003ca href=\"https://wl.eventim.us/event/Mosswood-Meltdown-2025/608893?afflky=MosswoodMeltdown\">Tickets are available here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "Why John Waters Loves Hosting Mosswood Meltdown | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Waters has been \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a>’s formidably filthy emcee for more than a decade — a legendary subversive whose gravitas fits the Oakland fest’s particular vibe. \u003c/p>\n\u003cp>“I like punks; they’re my people, I would feel the most comfortable in the punk world than any other minority world,” the filmmaker, author, comedian and all-around trash icon tells KQED. “I look forward to it every year.” \u003c/p>\n\u003cp>Waters — who keeps an apartment in San Francisco but calls the East Coast home — returns to the Mosswood stage once again \u003ca href=\"https://mosswoodmeltdown.com/\">July 19 and 20\u003c/a>. The 79-year-old will helm the festival stage, telling jokes and stories as he introduces headliners Devo, Osees, the Exploding Hearts and Bratmobile, as well as festival favorites and friends like \u003ca href=\"https://www.kqed.org/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place\">Shannon and the Clams\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The audience at Mosswood Meltdown shares John’s sense of humor for the arcane,” says festival co-founder Marc Ribak, who notes that he and his wife Amy Carver watched Pink Flamingos on their first date. “John fully embraces the Mosswood Meltdown audience as well. And that’s exactly why he is the quintessential part of [the festival].” \u003c/p>\n\u003cp>The Clams singer/bassist Shannon Shaw is quick to affirm Waters’ punk cred. “Of course John is punk!!!!” she enthused via email. “He’s the lantern we all flutter to. He understands the fringes of society cuz he lives there! He has made it a place to be celebrated and have fun and come together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters might be the oldest (but certainly not crustiest) punk on stage, but he feels right at home. The forever-delinquent and master of cult madness recounts the many reasons why he loves Mosswood Meltdown — from senior citizen gutter punks to seeing his friends starstruck. \u003c/p>\n\u003cfigure id=\"attachment_13915763\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg\" alt=\"A woman with a big blond '60s-inspired hairdo looks down at her guitar, behind a mic stand. She is wearing a bright pink blouse and matching lipstick\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw performing solo at Mosswood Meltdown on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Waters loves to up the punx\u003c/h2>\n\u003cp>Besides the cash and an affinity for the Bay’s cooler summers, Waters has hosted Mosswood Meltdown (and, formerly, Burger Boogaloo) nearly a dozen times simply because he loves punks. \u003c/p>\n\u003cp>“They’re very opinionated; they love each other and kind of hate everybody else,” Waters says. “They used to stage dive, but they’re too heavy now.”\u003c/p>\n\u003cp>Punk humor aside, Mosswood Meltdown “really has a great attitude,” he says. Whether you’re a hardcore kid or an aging punk, Waters sees you. \u003c/p>\n\u003cp>“Punks their whole life have been told they look terrible, ‘Why would you act like that?’” Waters reflects. “So they love to be together and celebrate their behavior that they always loved doing … They all used to be juvenile delinquents, but now they’re celebrated as adult delinquents.” \u003c/p>\n\u003ch2>John Waters does it for the children\u003c/h2>\n\u003cp>While Mosswood Meltdown is known to traffic in legends, popular punk and punk-adjacent groups, and highly anticipated reunions, the fest also features up-and-comers. Waters is all for it — particularly as a recruiting tool. \u003c/p>\n\u003cp>“They say gay people recruit; we punks really recruit,” he says. “It’s like, ‘There’s one! Get that kid!’ because we need young ones so we can suck their blood out and get it to Iggy Pop so he can live forever.”\u003cbr>\nMosswood is an all-ages festival where you’re as likely to glimpse a 60-something punk in the pit as you are a Gen Xer who saw Crimpshrine at Gilman back when. Audiencegoers include young skinheads, tough tweens in baby Docs and even a few normies with good taste. \u003c/p>\n\u003cfigure id=\"attachment_13915751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maddie Barbee (left) and Grace Sykes at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Waters, it’s particularly important for young people to carry on the torch. “Eventually all the punk groups are going to be like the Drifters now, where none of them are the original people,” he says. “Maybe one year we’ll have all cover punks.” \u003c/p>\n\u003cp>When asked what punk icon he would want to cover in a fictitious band, Waters doesn’t miss a beat: GG Allin. \u003c/p>\n\u003ch2>Mosswood brings up good memories\u003c/h2>\n\u003cp>Waters has his favored Bay haunts: the vintage pulp paperback purveyors \u003ca href=\"https://www.kayobooks.com/\">Kayo Books\u003c/a>; Oakland’s Thee Stork Club, which he \u003ca href=\"https://brokeassstuart.com/2022/06/03/john-waters-to-help-open-thee-stork-club-in-oakland/\">helped re-open\u003c/a> and where he held a 2024 \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/oakland-club-hosts-birthday-celebration-for-famed-director-john-waters/\">birthday celebration\u003c/a>/storytelling performance; and the Great American Music Hall, host to his annual “A John Waters Christmas” show. But being at Mosswood reminds him of one of one of his old-time locales — the long-shuttered \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Deaf Club\u003c/a> on Valencia. \u003c/p>\n\u003cp>“That was the first punk place in San Francisco I hung out,” Waters says of the deaf community center where bands like The Offs, the Avengers and the Dead Kennedys played for 18 legendary months. “It was the best punk club ever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The scene sounds too strange to be real, more fit of one of the off-kilter universes in Waters’ own films. Maybe there’s a Deaf Club in the world of \u003cem>Cry Baby\u003c/em> or \u003cem>A Dirty Shame\u003c/em>. “It didn’t last long because the neighbors \u003ci>really\u003c/i> hated it,” Waters recalls. “It was too good to last forever.” \u003c/p>\n\u003ch2>He gets to hang with his friends\u003c/h2>\n\u003cp>After all his years at Mosswood, Waters has developed deep friendships in the scene. He’s gotten to know festival founders Marc and Amy, and is friends with Shannon Shaw “in real life.” He counts artist and Hunx and His Punx frontman Seth Bogart as a friend; the two will be selling collaborative merch at this year’s Mosswood for the first time. \u003c/p>\n\u003cp>“I’ve gotten to know people,” Waters says of his longstanding friendships. “Oakland is a little bit like Baltimore in some ways, but I feel at home there.” \u003c/p>\n\u003cfigure id=\"attachment_13915778\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Waters actually watches the bands\u003c/h2>\n\u003cp>In proper (or rather, common) punk fashion, there’s no fancy backstage area at the festival where Waters can sequester himself. And he wouldn’t want to anyway. When he’s not prepping for his host duties, he’s watching performers. \u003c/p>\n\u003cp>He reels off a list of favorites: Amyl and the Sniffers, the Damned, “of course Iggy, who was in \u003cem>Cry Baby\u003c/em>,” crowd-pleasers like Devo and the Jesus and Mary Chain. “The Linda Lindas, when they were, like, \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">punk rock children\u003c/a> — that was great,” Waters says. Even after over a decade as host, Waters says he remains amazed at the freshness and confidence of the groups that play Mosswood.\u003c/p>\n\u003cp>Beyond the receptive audience showing up for their favorite acts, the performers themselves show up for their friends and heroes. Backstage can be something of a love-in. \u003c/p>\n\u003cp>“Famous people in the punk rock world are just as interested to meet other famous punk rock groups. They’re starstruck too, and I like to see that,” Waters says. “No one acts like a superstar, but they all act like they’re impressed with each other.” \u003c/p>\n\u003cp>Though he won’t name names from the Mosswood roster (Waters may have put the filthiest people alive on screen, but he knows how to keep their secrets), this particular scene shows up for each other, he says — with the earnestness of Tracy Turnblad.\u003c/p>\n\u003cfigure id=\"attachment_13915744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Waters introduces Pansy Division at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mosswood crowd proves you’re never too old to be punk\u003c/h2>\n\u003cp>“These are the kind of rock stars that impress me,” Waters says. “They’ve somehow been able to survive, especially the older ones, and be angry and crazy and not look silly or pitiful. When you have an extreme style when you’re young, it’s really hard to figure out how to finesse that as you get older, but it does very well there.” \u003c/p>\n\u003cp>But, Waters warns, “You can also be cringy if you try to act young when you’re 90. Sometimes you \u003ci>are\u003c/i> too old to pogo dance.” Pausing, he quickly reevaluates his dance politics: “Actually, that would be alright. You sometimes are too old to do the funky chicken at a wedding, but you’re never too old to pogo.” \u003c/p>\n\u003cp>Waters envisions a senior slam dance at a retirement community. “Sometimes the bands that are playing here \u003ci>are\u003c/i> in retirement communities … or they could be,” he says. The pit at Waters’ Home for Elder Punks would be slow-moving, only for those over age 80 and with good insurance. He muses, “Their bones are brittle, so you better catch them when they stage dive!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Mosswood Meltdown takes place July 19–20, 2025 at Mosswood Park (3612 Webster St., Oakland). \u003ca href=\"https://wl.eventim.us/event/Mosswood-Meltdown-2025/608893?afflky=MosswoodMeltdown\">Tickets are available here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>New wave icons Devo will headline \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> when the festival returns to Oakland’s Mosswood Park July 19–20, 2025. The off-kilter hitmakers have enjoyed a strong 2024: Earlier this year, they released \u003ci>Art Devo\u003c/i>, a compilation of early, out-there tracks from 1973-1977, years before “Whip It” catapulted them into international fame. Hot off a \u003ca href=\"https://www.youtube.com/watch?v=VKvYRDhPt_0\">Tiny Desk concert\u003c/a> that showed the group in top form and playful as ever, Devo will make their Mosswood appearance between tour stops with My Chemical Romance.\u003c/p>\n\u003cp>Also announced on the Mosswood Meltdown lineup is “\u003ca href=\"https://youtu.be/6WJFjXtHcy4?si=RCxrzDm19FlOl0O9\">Gucci Gucci\u003c/a>” rapper Kreayshawn, who will perform live in her hometown for the first time in 10 years. Joining her are Osees, the ever-shifting indie rock band that got their start in San Francisco in the late ’90s and recently released the sci-fi punk album \u003ca href=\"https://ohsees.bandcamp.com/album/sorcs-80\">\u003ci>Sorcs 80\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Belgian punk band The Kids, who came onto the scene in the ’70s, and 2000s punk band The Exploding Hearts are also on the bill. Mosswood Meltdown will once again be hosted by filmmaker-provocateur John Waters. More acts will soon be announced, and \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2025-Early-Bird-Tickets/608893?afflky=MosswoodMeltdown&utm_source=hive&utm_medium=email&utm_campaign=hive_email_id_318862_mosswood-meltdown-early-birds&h_sid=f92278aaac-863d2e3a2d3d345cc113439d&h_slt=eyJoYXNoIjoiZjgxYzk0YTlhZWE0NTMyIiwiaGl2ZV91c2VyX2lkIjoyMzY5MDQ4Nn0%3D'\">early bird tickets\u003c/a> are on sale starting at $119.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New wave icons Devo will headline \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> when the festival returns to Oakland’s Mosswood Park July 19–20, 2025. The off-kilter hitmakers have enjoyed a strong 2024: Earlier this year, they released \u003ci>Art Devo\u003c/i>, a compilation of early, out-there tracks from 1973-1977, years before “Whip It” catapulted them into international fame. Hot off a \u003ca href=\"https://www.youtube.com/watch?v=VKvYRDhPt_0\">Tiny Desk concert\u003c/a> that showed the group in top form and playful as ever, Devo will make their Mosswood appearance between tour stops with My Chemical Romance.\u003c/p>\n\u003cp>Also announced on the Mosswood Meltdown lineup is “\u003ca href=\"https://youtu.be/6WJFjXtHcy4?si=RCxrzDm19FlOl0O9\">Gucci Gucci\u003c/a>” rapper Kreayshawn, who will perform live in her hometown for the first time in 10 years. Joining her are Osees, the ever-shifting indie rock band that got their start in San Francisco in the late ’90s and recently released the sci-fi punk album \u003ca href=\"https://ohsees.bandcamp.com/album/sorcs-80\">\u003ci>Sorcs 80\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Belgian punk band The Kids, who came onto the scene in the ’70s, and 2000s punk band The Exploding Hearts are also on the bill. Mosswood Meltdown will once again be hosted by filmmaker-provocateur John Waters. More acts will soon be announced, and \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2025-Early-Bird-Tickets/608893?afflky=MosswoodMeltdown&utm_source=hive&utm_medium=email&utm_campaign=hive_email_id_318862_mosswood-meltdown-early-birds&h_sid=f92278aaac-863d2e3a2d3d345cc113439d&h_slt=eyJoYXNoIjoiZjgxYzk0YTlhZWE0NTMyIiwiaGl2ZV91c2VyX2lkIjoyMzY5MDQ4Nn0%3D'\">early bird tickets\u003c/a> are on sale starting at $119.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco resident and \u003ca href=\"https://www.kpbs.org/news/arts-culture/2007/07/21/john-waters-the-sultan-of-sleaze-speaks\">sultan of sleaze\u003c/a> John Waters is \u003ca href=\"https://www.worldofreel.com/blog/2024/2/26/aubrey-plaza-set-to-star-in-john-waters-liarmouth\">reported\u003c/a> to soon begin production on his first feature film in 20 years — with Aubrey Plaza in the lead role.\u003c/p>\n\u003cp>\u003cem>Liarmouth\u003c/em>, based on Waters’ 2022 “feel-bad romance” novel of the same name, follows a duplicitous scammer, Marsha Sprinkle, who alienates her boyfriend and immediate family through awful, criminal behavior.\u003c/p>\n\u003cp>Plaza told \u003cem>Dazed\u003c/em> in 2022 that she was \u003ca href=\"https://www.dazeddigital.com/film-tv/article/57276/1/aubrey-plaza-emily-the-criminal-interview\">throwing herself at Waters’ feet to play Marsha\u003c/a>: “I emailed him immediately and said, ‘You better let me audition for you. I even look like the girl on the cover,’” she said. “I’ll do anything to get the part. And I mean \u003cem>anything\u003c/em>.”\u003c/p>\n\u003cp>[aside postID='arts_13951325']Filming for \u003cem>Liarmouth\u003c/em> will begin later this year in Waters’ hometown of Baltimore.\u003c/p>\n\u003cp>Waters, a \u003ca href=\"https://oaklandside.org/2022/10/07/thee-stork-club-new-bar-opening-oakland/\">spiritual godfather to Thee Stork Club\u003c/a> and annual \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">emcee at the Mosswood Meltdown music festival\u003c/a> in Oakland, had planned to begin filming in 2022 before the Hollywood strikes by actors and screenwriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Known for films like \u003cem>Pink Flamingos\u003c/em>, \u003cem>Polyester\u003c/em> and \u003cem>Crybaby\u003c/em>, Waters last directed a film, the Tracey Ullman-starring \u003cem>A Dirty Shame\u003c/em>, in 2004.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco resident and \u003ca href=\"https://www.kpbs.org/news/arts-culture/2007/07/21/john-waters-the-sultan-of-sleaze-speaks\">sultan of sleaze\u003c/a> John Waters is \u003ca href=\"https://www.worldofreel.com/blog/2024/2/26/aubrey-plaza-set-to-star-in-john-waters-liarmouth\">reported\u003c/a> to soon begin production on his first feature film in 20 years — with Aubrey Plaza in the lead role.\u003c/p>\n\u003cp>\u003cem>Liarmouth\u003c/em>, based on Waters’ 2022 “feel-bad romance” novel of the same name, follows a duplicitous scammer, Marsha Sprinkle, who alienates her boyfriend and immediate family through awful, criminal behavior.\u003c/p>\n\u003cp>Plaza told \u003cem>Dazed\u003c/em> in 2022 that she was \u003ca href=\"https://www.dazeddigital.com/film-tv/article/57276/1/aubrey-plaza-emily-the-criminal-interview\">throwing herself at Waters’ feet to play Marsha\u003c/a>: “I emailed him immediately and said, ‘You better let me audition for you. I even look like the girl on the cover,’” she said. “I’ll do anything to get the part. And I mean \u003cem>anything\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The B-52s, Big Freedia to Headline Mosswood Meltdown",
"headTitle": "The B-52s, Big Freedia to Headline Mosswood Meltdown | KQED",
"content": "\u003cfigure id=\"attachment_13951338\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1860\" class=\"size-full wp-image-13951338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-2048x1488.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1920x1395.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Wilson, Fred Schneider and Kate Pierson of The B-52s at The Punk Rock Museum in Las Vegas in 2023. The band will headline this year’s Mosswood Meltdown festival in Oakland. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mosswood Meltdown returns to Mosswood Park on July 6 and 7, and the lineup is officially here. Topping the bill are The B-52s, the quirky, art-rock hitmakers best known for “Love Shack” and “Rock Lobster.” Big Freedia, queen of New Orleans bounce music and inspiration to \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>, also headlines, along with Oakland queer punk band Hunx and His Punx.\u003c/p>\n\u003cp>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> is a hidden gem among the Bay Area’s music festival offerings. Held in a North Oakland park where neighbors shoot hoops on the weekends, it’s much more lowkey than, say, Outside Lands or Portola. Its annual lineups bring underground icons together with up-and-coming acts. Leaning queer and feminist, it’s one of the few events where countercultural babies, teens, parents and even elders \u003cspan style=\"font-weight: 400\">—\u003c/span> not least, annual host John Waters \u003cspan style=\"font-weight: 400\">— can jam out together. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860397\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg\" alt=\"John Waters has hosted the Burger Boogaloo music festival in Oakland every year since 2015.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has hosted the Mosswood Meltdown music festival (formerly known as Burger Boogaloo) in Oakland every year since 2015. \u003ccite>((Tiger Lily/Courtesy Burger Boogaloo))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New at Mosswood this year is a drag contest hosted by San Francisco legend Peaches Christ. Electrofunk pioneer and turntable wizard Egyptian Lover is slated to perform, and ’90s indie-pop band Go Sailor will reunite at Mosswood for the first time in over a decade. Veteran Philly punks Pure Hell, former street musician and synth experimentalist The Space Lady, and Pansy Division, one of the first out gay rock bands, are also on the bill, along with many more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Mosswood Meltdown runs Saturday and Sunday, July 6 and 7, at Mosswood Park in Oakland. \u003ca href=\"https://mosswoodmeltdown.com/\">Full lineup and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The lineup is here for this year's punk and underground music festival at Oakland's Mosswood Park.",
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The band will headline this year’s Mosswood Meltdown festival in Oakland. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mosswood Meltdown returns to Mosswood Park on July 6 and 7, and the lineup is officially here. Topping the bill are The B-52s, the quirky, art-rock hitmakers best known for “Love Shack” and “Rock Lobster.” Big Freedia, queen of New Orleans bounce music and inspiration to \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>, also headlines, along with Oakland queer punk band Hunx and His Punx.\u003c/p>\n\u003cp>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> is a hidden gem among the Bay Area’s music festival offerings. Held in a North Oakland park where neighbors shoot hoops on the weekends, it’s much more lowkey than, say, Outside Lands or Portola. Its annual lineups bring underground icons together with up-and-coming acts. Leaning queer and feminist, it’s one of the few events where countercultural babies, teens, parents and even elders \u003cspan style=\"font-weight: 400\">—\u003c/span> not least, annual host John Waters \u003cspan style=\"font-weight: 400\">— can jam out together. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860397\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg\" alt=\"John Waters has hosted the Burger Boogaloo music festival in Oakland every year since 2015.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has hosted the Mosswood Meltdown music festival (formerly known as Burger Boogaloo) in Oakland every year since 2015. \u003ccite>((Tiger Lily/Courtesy Burger Boogaloo))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New at Mosswood this year is a drag contest hosted by San Francisco legend Peaches Christ. Electrofunk pioneer and turntable wizard Egyptian Lover is slated to perform, and ’90s indie-pop band Go Sailor will reunite at Mosswood for the first time in over a decade. Veteran Philly punks Pure Hell, former street musician and synth experimentalist The Space Lady, and Pansy Division, one of the first out gay rock bands, are also on the bill, along with many more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Mosswood Meltdown runs Saturday and Sunday, July 6 and 7, at Mosswood Park in Oakland. \u003ca href=\"https://mosswoodmeltdown.com/\">Full lineup and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
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"meta": {
"site": "radio",
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"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",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"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": {
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"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.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"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.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"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": {
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"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": {
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"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",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"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": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"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": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"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": {
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"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",
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"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"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": {
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"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",
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}
},
"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/",
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"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",
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"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": {
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"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"
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},
"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": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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