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"slug": "best-concerts-2025-bay-area-live-music",
"title": "The 25 Best Concerts That Got Me Through 2025",
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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\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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"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\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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"description": "The lineup is here for this year's punk and underground music festival at Oakland's Mosswood Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"science-friday": {
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