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"title": "Marketing Win? Stern Grove Lineup Announced via Public Transportation",
"headTitle": "Marketing Win? Stern Grove Lineup Announced via Public Transportation | KQED",
"content": "\u003cp>\u003cstrong>Update, May 3: \u003c/strong>Stern Grove Festival has officially announced its lineup. It’s the same slate of artists that appeared to have been accidentally revealed through a Muni ad in April.\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>The 2022 Stern Grove Festival lineup was announced Friday in a small masterwork of accidental marketing genius: placing an ad on a Muni bus and letting the public do the rest.\u003c/p>\n\u003cp>The lineup features Tower of Power and Too Short (June 12), Toro y Moi and Hello Yello (June 19), Liz Phair and Madi Diaz (June 26), Cold War Kids and Geographer (July 3), Old Crow Medicine Show and Molly Tuttle (July 10), Cat Power and Spellling (July 17), LeAnn Rimes and Amythyst Kiah (July 24), San Francisco Symphony (July 31), Taj Mahal and Monophonics (Aug. 7) and the Big Picnic with Phil Lesh & Friends and Midnight North (Aug. 14), according to the Muni ad.\u003c/p>\n\u003cfigure id=\"attachment_13912348\" class=\"wp-caption aligncenter\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png\" alt=\"A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove's 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others.\" width=\"740\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM-160x179.png 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove’s 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others. \u003ccite>(via Reddit / u/normalizevictory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ad in question, \u003ca href=\"https://datebook.sfchronicle.com/music/muni-ad-leaks-stern-grove-festival-2022-lineup-with-liz-phair-and-cat-power\" target=\"_blank\" rel=\"noopener noreferrer\">first reported\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>, notes that all performances for the festival’s 85th season will still be free. Advance reservations for entry, added in in recent years, will again be required.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED reached out to festival representatives to confirm the lineup in the Muni bus ad. The response neither confirmed nor denied the lineup, and \u003ca href=\"https://twitter.com/sterngrovefest/status/1518007943928500224\" target=\"_blank\" rel=\"noopener noreferrer\">directed us to this tweet\u003c/a>.\u003c/p>\n\u003cp>Photos of the ad surfaced \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">on Reddit\u003c/a> and other social media on Friday, giving organizers at the Stern Grove Festival either a) extreme frustration at the leaked lineup, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">not planned for release until May 3\u003c/a>, or b) a scramble to try and put a positive spin on the situation.\u003c/p>\n\u003cp>https://twitter.com/andyfedy/status/1517612025706258435\u003c/p>\n\u003cp>Let us help with that positive spin: In an age when festival lineup announcements are tightly controlled and embargoed, this type of covert leaked announcement basically reflects a competent understanding of marketing and communications in the social media age. Namely, how word-of-mouth online carries far more human impact than any branded content, and how clueing the public in on a “secret” is \u003ca href=\"https://twitter.com/CatZhang1/status/1514440150822137862\" target=\"_blank\" rel=\"noopener noreferrer\">worth far more social clout\u003c/a> than a formal press release spread across all media outlets.\u003c/p>\n\u003cp>For example: remarked one Reddit user, echoing others, “\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">Dude, better lineup than Outside Lands\u003c/a>.”\u003c/p>\n\u003cp>What’s more, giving the honors of quietly announcing the lineup to Muni shows a laudable support of city services at a time when public transportation has suffered, and been further devalued, in San Francisco. Ridership on Muni and BART \u003ca href=\"https://www.bart.gov/news/articles/2020/news20200317\" target=\"_blank\" rel=\"noopener noreferrer\">fell drastically\u003c/a> during the COVID pandemic, and ridesharing services like Uber and Lyft continue their attempts to take over the city streets by supplanting traditional public transit.\u003c/p>\n\u003cp>In other words: Didn’t take the bus on Friday? You missed out on the inside scoop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival’s official website, which promises that a lineup announcement is coming on May 3, is here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, May 3: \u003c/strong>Stern Grove Festival has officially announced its lineup. It’s the same slate of artists that appeared to have been accidentally revealed through a Muni ad in April.\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>The 2022 Stern Grove Festival lineup was announced Friday in a small masterwork of accidental marketing genius: placing an ad on a Muni bus and letting the public do the rest.\u003c/p>\n\u003cp>The lineup features Tower of Power and Too Short (June 12), Toro y Moi and Hello Yello (June 19), Liz Phair and Madi Diaz (June 26), Cold War Kids and Geographer (July 3), Old Crow Medicine Show and Molly Tuttle (July 10), Cat Power and Spellling (July 17), LeAnn Rimes and Amythyst Kiah (July 24), San Francisco Symphony (July 31), Taj Mahal and Monophonics (Aug. 7) and the Big Picnic with Phil Lesh & Friends and Midnight North (Aug. 14), according to the Muni ad.\u003c/p>\n\u003cfigure id=\"attachment_13912348\" class=\"wp-caption aligncenter\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png\" alt=\"A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove's 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others.\" width=\"740\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM-160x179.png 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove’s 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others. \u003ccite>(via Reddit / u/normalizevictory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ad in question, \u003ca href=\"https://datebook.sfchronicle.com/music/muni-ad-leaks-stern-grove-festival-2022-lineup-with-liz-phair-and-cat-power\" target=\"_blank\" rel=\"noopener noreferrer\">first reported\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>, notes that all performances for the festival’s 85th season will still be free. Advance reservations for entry, added in in recent years, will again be required.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED reached out to festival representatives to confirm the lineup in the Muni bus ad. The response neither confirmed nor denied the lineup, and \u003ca href=\"https://twitter.com/sterngrovefest/status/1518007943928500224\" target=\"_blank\" rel=\"noopener noreferrer\">directed us to this tweet\u003c/a>.\u003c/p>\n\u003cp>Photos of the ad surfaced \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">on Reddit\u003c/a> and other social media on Friday, giving organizers at the Stern Grove Festival either a) extreme frustration at the leaked lineup, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">not planned for release until May 3\u003c/a>, or b) a scramble to try and put a positive spin on the situation.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let us help with that positive spin: In an age when festival lineup announcements are tightly controlled and embargoed, this type of covert leaked announcement basically reflects a competent understanding of marketing and communications in the social media age. Namely, how word-of-mouth online carries far more human impact than any branded content, and how clueing the public in on a “secret” is \u003ca href=\"https://twitter.com/CatZhang1/status/1514440150822137862\" target=\"_blank\" rel=\"noopener noreferrer\">worth far more social clout\u003c/a> than a formal press release spread across all media outlets.\u003c/p>\n\u003cp>For example: remarked one Reddit user, echoing others, “\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">Dude, better lineup than Outside Lands\u003c/a>.”\u003c/p>\n\u003cp>What’s more, giving the honors of quietly announcing the lineup to Muni shows a laudable support of city services at a time when public transportation has suffered, and been further devalued, in San Francisco. Ridership on Muni and BART \u003ca href=\"https://www.bart.gov/news/articles/2020/news20200317\" target=\"_blank\" rel=\"noopener noreferrer\">fell drastically\u003c/a> during the COVID pandemic, and ridesharing services like Uber and Lyft continue their attempts to take over the city streets by supplanting traditional public transit.\u003c/p>\n\u003cp>In other words: Didn’t take the bus on Friday? You missed out on the inside scoop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival’s official website, which promises that a lineup announcement is coming on May 3, is here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly.",
"headTitle": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly. | KQED",
"content": "\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>[aside postID='arts_13831858']For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>[aside postID='arts_11625922']If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More",
"headTitle": "Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More | KQED",
"content": "\u003cp>Last week, Feb. 21–27, \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> returned from its pandemic hiatus, and audiences showed up hungry, with an omnivorous appetite for new sounds. They filled up major concert halls like The Warfield, and packed out small clubs like Bottom of the Hill and the New Parish. Throughout the week, there was an eagerness to take in what the artists had to offer, whether they were big-name headliners like Jeff Tweedy, Dorian Electra, King Woman and Azealia Banks or the dozens of up-and-coming acts that dotted the bill. Here are the moments that stood out.\u003c/p>\n\u003cfigure id=\"attachment_13909695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9551.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area for Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Arooj Aftab\u003c/h2>\n\u003cp>\u003cb>Gray Area, San Francisco\u003cbr>\nFeb. 22\u003c/b>\u003cbr>\nYou didn’t have to speak Urdu to have a profound experience at \u003ca href=\"https://www.aroojaftabmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>’s set at Gray Area—her voice is that transcendent. For a brief, drizzly evening, the Brooklyn-based Pakistani singer brought us together on a spiritual frequency in the nearly pitch-dark Mission district theater.\u003c/p>\n\u003cp>Aftab took the stage under dim, red lights with a harpist and a nylon-string guitarist. When she unleashed her crystal-clear voice, she transported the audience into the depths of sorrow and buoyed us back up again with hope. And with her unexpectedly dry humor between songs, she also cracked us up.\u003c/p>\n\u003cfigure id=\"attachment_13909689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab backstage at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s sad, but it’s supposed to be sexy-sad, you know,” she remarked after one particularly powerful track, sipping from a coffee mug of red wine. Commenting on her Grammy nominations for best new artist and best global music performance, Aftab joked about the award show being postponed to April: “They gave me more time to stay a nominee instead of a loser, which is why I’m telling you guys.” Self-deprecation aside, though, if she does get the accolade, her impeccable Noise Pop set proved it’ll be well deserved.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9639.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-768x495.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes performs at The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler Holmes, Irreversible Entanglements and Moor Mother\u003c/h2>\n\u003cp>\u003cb>The New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003cbr>\nThose present at The New Parish on Feb. 23 went on a couple sonic journeys. The first was led by Oakland-based opener \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a>, whose dynamic set included an unexpected, masterful cover of “We Belong Together” by Mariah Carey. Holmes turned it into a haunting yet danceable soundscape, reminiscent of what one might hear at a nightclub for monsters. The set took the audience on a trip through the vulnerability and complications of love without shying away from the weirdness of it all, too.\u003c/p>\n\u003cfigure id=\"attachment_13909732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9699.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moor Mother headlines The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Afrofuturist experimental jazz band \u003ca href=\"https://www.irreversibleentanglements.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Irreversible Entanglement\u003c/a>’s hour-long, nonstop marathon of a performance. Frontwoman \u003ca href=\"https://www.moormother.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Moor Mother\u003c/a>’s spoken-word lyrics took listeners on an adventure through space-time: “Who will survive the cosmos? Will I see you tomorrow?” With its unpredictable, shifting tempos, the sound was both primordial and post-apocalyptic.\u003cem>—Julian Sorapuru\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9808.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits singer-songwriter Meg Duffy backstage at The Chapel at Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hand Habits\u003c/h2>\n\u003cp>\u003cb>The Chapel, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003cbr>\nThe Chapel was blessed by Meg Duffy’s guitar playing as \u003ca href=\"https://www.handhabits.band/\" target=\"_blank\" rel=\"noopener noreferrer\">Hand Habits\u003c/a> commanded the space, bouncing well-constructed melodies off The Chapel’s tall ceiling. The Los Angeles-based band had the kind of performance you could get lost in. It was as if each member of Hand Habits was physically connected to their instrument of choice, putting their bodies into every note they played. Duffy indulged the audience with a full range of their skill. Their fingers danced vigorously on the strings of multiple guitars throughout the night, like a master painter switching between thick and thin brushes. Accentuated by controlled percussion and an assured bass guitar, Hand Habits tapped into an intersection between sensitivity and string-shredding that engrossed their audience.\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0208.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits headlines The Chapel at Noise Pop Music and Art Festival on Friday Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0335.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Papercuts headlines Bottom of the Hill during night six of the Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Papercuts\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 26\u003c/b>\u003cbr>\nAt a venue still decorated with hearts and roses for Valentine’s Day, \u003ca href=\"https://www.papercutsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Papercuts\u003c/a> played soft guitar pop that evoked the wonder of love. The San Francisco outfit’s music has a dreamlike quality, with stripped-down percussion and wistful vocals imbued with nostalgia. Their performance sounded like what taking an end-of-summer road trip to the beach feels like. After each song in their set, almost before the audience could get their applause out, frontman Jason Robert Quever uttered a very soft and humble “thank you” to the Noise Pop attendees. The crowd had such an appreciation for the hometown band that shouts of “Encore!” rang out at the end of the night. Quever obliged with a solo performance of his moody track, “You Can Have What You Want.”\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0414.jpg\" alt=\"Man in denim shirt and baseball cap plays guitar on stage\" width=\"800\" height=\"533\" class=\"size-full wp-image-13909831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines Bottom of the Hill during night seven of the Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tommy Guerrero\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\n\u003ca href=\"http://www.tommyguerrero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> looked completely zen on stage at Bottom of the Hill on Sunday even though he was playing some pretty complicated riffs on his guitar—often with his eyes closed. His meditative demeanor wasn’t too dissimilar from the relaxed approach to skateboarding that made him famous in the ’80s. His entirely instrumental set brought the perfect sunny mood on the closing day of Noise Pop. Accompanied by the steady grooves of Matt Rodriguez on congas and percussion, Josh Lippi on bass and Louie Senor on drums, Guerrero played surf rock licks with a Latin jazz backbeat. “You never know what’s gonna happen,” he told his packed hometown crowd, which included his teenage son and lots of other rocker dads and their offspring. “It’s like how I grew up skateboarding in the streets of the city, almost getting run over by everything possible—but just fucking pulling it, barely. That’s how I tend to play music. That’s why you gotta have a badass band.”\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909837\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0561.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bali Baby performs at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bali Baby and Azealia Banks\u003c/h2>\n\u003cp>\u003cb>The Warfield\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\nAlthough most of the audience was there to see headliner Azealia Banks, opener \u003ca href=\"https://www.instagram.com/balionabeat/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bali Baby\u003c/a> deserves more than an honorable mention. In her fuchsia wig and teeny-tiny mini skirt (think real-life Bratz doll), Bali brought an instantly fun mood when she and her squad started bouncing all over the stage. Ladies and gentlethems were twerking; someone was wearing a bunny mascot head; hype men were working the crowd in neon balaclavas. Bali was leading the whole procession like a trap Alice in Wonderland from Atlanta. She was an absolute delight, and probably ended the night with a few hundred new fans.\u003c/p>\n\u003cfigure id=\"attachment_13909842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0788.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/azealiabanks/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a> emerged looking ethereal and regal in a pink velvet leotard and matching gloves, with visuals of a moon reflected in water lighting her path. In another life, Banks might have been a Broadway star. She has a flare for \u003cem>drama\u003c/em> in all its forms—both in the way she lives in the public eye, and the way she performs. She belted, she freestyled, she sang and rapped in Spanish. And with a live drummer and three-piece brass section, she turned the party up.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0895.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0667.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Steinbrink performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0327.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chime School performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0295.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April Magazine performs at Bottom of the Hill during Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0119.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorian Electra performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0072.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements and Moor Mother perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9684.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9605.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9502.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ouri performs at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9812.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Tour performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Feb. 21–27, \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> returned from its pandemic hiatus, and audiences showed up hungry, with an omnivorous appetite for new sounds. They filled up major concert halls like The Warfield, and packed out small clubs like Bottom of the Hill and the New Parish. Throughout the week, there was an eagerness to take in what the artists had to offer, whether they were big-name headliners like Jeff Tweedy, Dorian Electra, King Woman and Azealia Banks or the dozens of up-and-coming acts that dotted the bill. Here are the moments that stood out.\u003c/p>\n\u003cfigure id=\"attachment_13909695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9551.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area for Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Arooj Aftab\u003c/h2>\n\u003cp>\u003cb>Gray Area, San Francisco\u003cbr>\nFeb. 22\u003c/b>\u003cbr>\nYou didn’t have to speak Urdu to have a profound experience at \u003ca href=\"https://www.aroojaftabmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>’s set at Gray Area—her voice is that transcendent. For a brief, drizzly evening, the Brooklyn-based Pakistani singer brought us together on a spiritual frequency in the nearly pitch-dark Mission district theater.\u003c/p>\n\u003cp>Aftab took the stage under dim, red lights with a harpist and a nylon-string guitarist. When she unleashed her crystal-clear voice, she transported the audience into the depths of sorrow and buoyed us back up again with hope. And with her unexpectedly dry humor between songs, she also cracked us up.\u003c/p>\n\u003cfigure id=\"attachment_13909689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab backstage at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s sad, but it’s supposed to be sexy-sad, you know,” she remarked after one particularly powerful track, sipping from a coffee mug of red wine. Commenting on her Grammy nominations for best new artist and best global music performance, Aftab joked about the award show being postponed to April: “They gave me more time to stay a nominee instead of a loser, which is why I’m telling you guys.” Self-deprecation aside, though, if she does get the accolade, her impeccable Noise Pop set proved it’ll be well deserved.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9639.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-768x495.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes performs at The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler Holmes, Irreversible Entanglements and Moor Mother\u003c/h2>\n\u003cp>\u003cb>The New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003cbr>\nThose present at The New Parish on Feb. 23 went on a couple sonic journeys. The first was led by Oakland-based opener \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a>, whose dynamic set included an unexpected, masterful cover of “We Belong Together” by Mariah Carey. Holmes turned it into a haunting yet danceable soundscape, reminiscent of what one might hear at a nightclub for monsters. The set took the audience on a trip through the vulnerability and complications of love without shying away from the weirdness of it all, too.\u003c/p>\n\u003cfigure id=\"attachment_13909732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9699.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moor Mother headlines The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Afrofuturist experimental jazz band \u003ca href=\"https://www.irreversibleentanglements.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Irreversible Entanglement\u003c/a>’s hour-long, nonstop marathon of a performance. Frontwoman \u003ca href=\"https://www.moormother.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Moor Mother\u003c/a>’s spoken-word lyrics took listeners on an adventure through space-time: “Who will survive the cosmos? Will I see you tomorrow?” With its unpredictable, shifting tempos, the sound was both primordial and post-apocalyptic.\u003cem>—Julian Sorapuru\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9808.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits singer-songwriter Meg Duffy backstage at The Chapel at Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hand Habits\u003c/h2>\n\u003cp>\u003cb>The Chapel, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003cbr>\nThe Chapel was blessed by Meg Duffy’s guitar playing as \u003ca href=\"https://www.handhabits.band/\" target=\"_blank\" rel=\"noopener noreferrer\">Hand Habits\u003c/a> commanded the space, bouncing well-constructed melodies off The Chapel’s tall ceiling. The Los Angeles-based band had the kind of performance you could get lost in. It was as if each member of Hand Habits was physically connected to their instrument of choice, putting their bodies into every note they played. Duffy indulged the audience with a full range of their skill. Their fingers danced vigorously on the strings of multiple guitars throughout the night, like a master painter switching between thick and thin brushes. Accentuated by controlled percussion and an assured bass guitar, Hand Habits tapped into an intersection between sensitivity and string-shredding that engrossed their audience.\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0208.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits headlines The Chapel at Noise Pop Music and Art Festival on Friday Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0335.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Papercuts headlines Bottom of the Hill during night six of the Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Papercuts\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 26\u003c/b>\u003cbr>\nAt a venue still decorated with hearts and roses for Valentine’s Day, \u003ca href=\"https://www.papercutsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Papercuts\u003c/a> played soft guitar pop that evoked the wonder of love. The San Francisco outfit’s music has a dreamlike quality, with stripped-down percussion and wistful vocals imbued with nostalgia. Their performance sounded like what taking an end-of-summer road trip to the beach feels like. After each song in their set, almost before the audience could get their applause out, frontman Jason Robert Quever uttered a very soft and humble “thank you” to the Noise Pop attendees. The crowd had such an appreciation for the hometown band that shouts of “Encore!” rang out at the end of the night. Quever obliged with a solo performance of his moody track, “You Can Have What You Want.”\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0414.jpg\" alt=\"Man in denim shirt and baseball cap plays guitar on stage\" width=\"800\" height=\"533\" class=\"size-full wp-image-13909831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines Bottom of the Hill during night seven of the Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tommy Guerrero\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\n\u003ca href=\"http://www.tommyguerrero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> looked completely zen on stage at Bottom of the Hill on Sunday even though he was playing some pretty complicated riffs on his guitar—often with his eyes closed. His meditative demeanor wasn’t too dissimilar from the relaxed approach to skateboarding that made him famous in the ’80s. His entirely instrumental set brought the perfect sunny mood on the closing day of Noise Pop. Accompanied by the steady grooves of Matt Rodriguez on congas and percussion, Josh Lippi on bass and Louie Senor on drums, Guerrero played surf rock licks with a Latin jazz backbeat. “You never know what’s gonna happen,” he told his packed hometown crowd, which included his teenage son and lots of other rocker dads and their offspring. “It’s like how I grew up skateboarding in the streets of the city, almost getting run over by everything possible—but just fucking pulling it, barely. That’s how I tend to play music. That’s why you gotta have a badass band.”\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909837\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0561.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bali Baby performs at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bali Baby and Azealia Banks\u003c/h2>\n\u003cp>\u003cb>The Warfield\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\nAlthough most of the audience was there to see headliner Azealia Banks, opener \u003ca href=\"https://www.instagram.com/balionabeat/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bali Baby\u003c/a> deserves more than an honorable mention. In her fuchsia wig and teeny-tiny mini skirt (think real-life Bratz doll), Bali brought an instantly fun mood when she and her squad started bouncing all over the stage. Ladies and gentlethems were twerking; someone was wearing a bunny mascot head; hype men were working the crowd in neon balaclavas. Bali was leading the whole procession like a trap Alice in Wonderland from Atlanta. She was an absolute delight, and probably ended the night with a few hundred new fans.\u003c/p>\n\u003cfigure id=\"attachment_13909842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0788.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/azealiabanks/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a> emerged looking ethereal and regal in a pink velvet leotard and matching gloves, with visuals of a moon reflected in water lighting her path. In another life, Banks might have been a Broadway star. She has a flare for \u003cem>drama\u003c/em> in all its forms—both in the way she lives in the public eye, and the way she performs. She belted, she freestyled, she sang and rapped in Spanish. And with a live drummer and three-piece brass section, she turned the party up.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0895.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0667.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Steinbrink performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0327.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chime School performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0295.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April Magazine performs at Bottom of the Hill during Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0119.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorian Electra performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0072.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements and Moor Mother perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9684.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9605.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9502.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ouri performs at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9812.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Tour performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mosswood Meltdown 2023 Lineup: Le Tigre, Bratmobile, ESG, J.J. Fad, Gravy Train!!!! and More",
"headTitle": "Mosswood Meltdown 2023 Lineup: Le Tigre, Bratmobile, ESG, J.J. Fad, Gravy Train!!!! and More | KQED",
"content": "\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13915779,arts_13883674\"]For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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 takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The beloved Oakland music festival will bring reunited punk and electroclash favorites to Mosswood Park July 1 and 2, 2023. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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 takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "6 Artists You Shouldn't Miss At Noise Pop 2022",
"headTitle": "6 Artists You Shouldn’t Miss At Noise Pop 2022 | KQED",
"content": "\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\u003c/p>\n\u003cp>https://youtu.be/TgGWi6xXVm8\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\u003c/p>\n\u003cp>https://youtu.be/ckQsqGYfTYc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\u003c/p>\n\u003cp>https://youtu.be/IFR6kGytCsI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\u003c/p>\n\u003cp>https://youtu.be/N2HzhXNi4mc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\u003c/p>\n\u003cp>https://youtu.be/BDb1oTfcmCI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n",
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"excerpt": "With headliners Jeff Tweedy and Azealia Banks, this year's festival features a stacked, eclectic lineup.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TgGWi6xXVm8'\n title='//www.youtube.com/embed/TgGWi6xXVm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ckQsqGYfTYc'\n title='//www.youtube.com/embed/ckQsqGYfTYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IFR6kGytCsI'\n title='//www.youtube.com/embed/IFR6kGytCsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/N2HzhXNi4mc'\n title='//www.youtube.com/embed/N2HzhXNi4mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BDb1oTfcmCI'\n title='//www.youtube.com/embed/BDb1oTfcmCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "These Vegan Mooncake Biscuits Are a Rare Lunar Year Treat",
"headTitle": "These Vegan Mooncake Biscuits Are a Rare Lunar Year Treat | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">It started out as a way to reduce food waste. “I was looking into what to do with leftover mooncake skins,” explains Annie Wang, who runs the vegan home bakery \u003c/span>\u003ca href=\"https://www.anniestcakes.com/\">\u003cspan style=\"font-weight: 400\">Annie’s T Cakes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> out of her Uptown Oakland apartment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The answer, Wang discovered, was mooncake biscuits. According to Chinese custom, bakers would put a small portion of mooncake dough in the oven to test its temperature. Eventually, they started forming these test batches \u003ca href=\"https://www.therakyatpost.com/taste/2021/09/20/little-piggy-biscuits-rediscovering-a-fast-disappearing-mid-autumn-festival-tradition/\">into the shape of little pigs\u003c/a> and selling them as a standalone item—an inexpensive alternative to the mooncakes proper, minus their luxurious lotus seed and salted egg yolk fillings. Kids, in particular, love the biscuits, which Wang describes as being akin to a flaky, not-too-sweet cookie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Hong Kong, Malaysia and elsewhere in the Chinese diaspora, mooncake biscuits are a common sighting during the Mid-Autumn Festival (which typically falls in September or October). But this year Wang decided to feature them in her Lunar New Year snack box—\u003c/span>\u003ca href=\"https://www.anniestcakes.com/products/lunar-new-year-snack-box\">\u003cspan style=\"font-weight: 400\">just released for preorder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—in part because the biscuits are such a rarity in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Lunar New Year boxes ($30), which also include almond cookies and the more typical filled varieties of mooncake, will be available for pickup in Oakland from Jan. 27–Feb. 1. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All of the baked treats are 100 percent vegan, in keeping with the bakery’s overall mission to veganize traditional East Asian sweets. Armed with a cottage food license and an arsenal of plant-based egg and dairy substitutes, Wang says she hopes efforts like hers will help create a better, more sustainable food system.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13908107\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-scaled.jpg\" alt=\"A variety of Chinese baked goods—including a mooncake and an almond cookie—arranged on a plate.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Lunar New Year’s treat box also features almond cookies and regular mooncakes. \u003ccite>(Annie's T Cakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">As it did for so many other Americans, the pandemic brought Wang face to face with the hard realization that “a full-time job is not necessarily as stable as we thought.” When she was laid off from her marketing job in May of 2020, she dove headfirst into her passion for food tech and vegan baking, spending the better part of the year on recipe development. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her first breakthrough wound up becoming the item that Annie’s is best known for: a plant-based version of \u003c/span>\u003ca href=\"https://www.anniestcakes.com/products/taiwanese-pineapple-cake-original\">\u003cspan style=\"font-weight: 400\">Taiwanese pineapple cakes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, or fengli su, probably Taiwan’s most iconic snack cake. Wang, who is Chinese American, grew up eating the cakes, and she says it only took her three tries to come up with an eggless recipe that hit all the right notes, with a buttery (but butter-free) shortbread crust and jammy pineapple filling. Conveniently, the cakes are also gluten-free.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, for Lunar New Year, Wang is excited to introduce her vegan mooncake biscuits to customers who aren’t familiar with them. “They’re really satisfying to eat, and you can eat a lot of them,” she says. “It’s not a heavy snack.” In Hong Kong or Singapore, the little pig-shaped biscuits are typically sold in baskets that are meant to look like cages—which, Wang says, “as a vegan is less fun for me to think about.” So, Wang’s version isn’t modeled after a pig at all. Instead, she stuck with a more traditional-looking engraved mooncake design, though she’s playing around with other shapes for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13906738,arts_13905832,arts_13897868']\u003c/span>The bakery is also selling kits for preparing \u003ca href=\"https://www.anniestcakes.com/products/tang-yuan-soup-kit\">tang yuan soup\u003c/a>, a rice flour–based dessert that\u003cspan style=\"font-weight: 400\">’\u003c/span>s also commonly eaten during Lunar New Year.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up, Wang remembers that Lunar New Year was all about family time: making dumplings, playing mahjong, watching Chinese comedy skits on TV that she couldn’t understand. Wang’s Lunar New Year box is well suited for that kind of small, intimate gathering—the kind most people will be having to ring in the Year of the Tiger this coming month. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not a great time for the world,” Wang says. “But one of the small side benefits of the pandemic is a lot of people really got closer to their smaller circle.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://www.anniestcakes.com/\">Annie’s T Cakes\u003c/a> Lunar New Year Box ($30) is available for preorder through Jan. 18, with pickup at Little Giant Ice Cream (1951 Telegraph Ave., Oakland) Jan. 27–Feb. 1. Shipping is also available in California only. \u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">It started out as a way to reduce food waste. “I was looking into what to do with leftover mooncake skins,” explains Annie Wang, who runs the vegan home bakery \u003c/span>\u003ca href=\"https://www.anniestcakes.com/\">\u003cspan style=\"font-weight: 400\">Annie’s T Cakes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> out of her Uptown Oakland apartment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The answer, Wang discovered, was mooncake biscuits. According to Chinese custom, bakers would put a small portion of mooncake dough in the oven to test its temperature. Eventually, they started forming these test batches \u003ca href=\"https://www.therakyatpost.com/taste/2021/09/20/little-piggy-biscuits-rediscovering-a-fast-disappearing-mid-autumn-festival-tradition/\">into the shape of little pigs\u003c/a> and selling them as a standalone item—an inexpensive alternative to the mooncakes proper, minus their luxurious lotus seed and salted egg yolk fillings. Kids, in particular, love the biscuits, which Wang describes as being akin to a flaky, not-too-sweet cookie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Hong Kong, Malaysia and elsewhere in the Chinese diaspora, mooncake biscuits are a common sighting during the Mid-Autumn Festival (which typically falls in September or October). But this year Wang decided to feature them in her Lunar New Year snack box—\u003c/span>\u003ca href=\"https://www.anniestcakes.com/products/lunar-new-year-snack-box\">\u003cspan style=\"font-weight: 400\">just released for preorder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—in part because the biscuits are such a rarity in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Lunar New Year boxes ($30), which also include almond cookies and the more typical filled varieties of mooncake, will be available for pickup in Oakland from Jan. 27–Feb. 1. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All of the baked treats are 100 percent vegan, in keeping with the bakery’s overall mission to veganize traditional East Asian sweets. Armed with a cottage food license and an arsenal of plant-based egg and dairy substitutes, Wang says she hopes efforts like hers will help create a better, more sustainable food system.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13908107\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-scaled.jpg\" alt=\"A variety of Chinese baked goods—including a mooncake and an almond cookie—arranged on a plate.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/annies-t-cakes_LunarNewYear-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Lunar New Year’s treat box also features almond cookies and regular mooncakes. \u003ccite>(Annie's T Cakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">As it did for so many other Americans, the pandemic brought Wang face to face with the hard realization that “a full-time job is not necessarily as stable as we thought.” When she was laid off from her marketing job in May of 2020, she dove headfirst into her passion for food tech and vegan baking, spending the better part of the year on recipe development. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her first breakthrough wound up becoming the item that Annie’s is best known for: a plant-based version of \u003c/span>\u003ca href=\"https://www.anniestcakes.com/products/taiwanese-pineapple-cake-original\">\u003cspan style=\"font-weight: 400\">Taiwanese pineapple cakes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, or fengli su, probably Taiwan’s most iconic snack cake. Wang, who is Chinese American, grew up eating the cakes, and she says it only took her three tries to come up with an eggless recipe that hit all the right notes, with a buttery (but butter-free) shortbread crust and jammy pineapple filling. Conveniently, the cakes are also gluten-free.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, for Lunar New Year, Wang is excited to introduce her vegan mooncake biscuits to customers who aren’t familiar with them. “They’re really satisfying to eat, and you can eat a lot of them,” she says. “It’s not a heavy snack.” In Hong Kong or Singapore, the little pig-shaped biscuits are typically sold in baskets that are meant to look like cages—which, Wang says, “as a vegan is less fun for me to think about.” So, Wang’s version isn’t modeled after a pig at all. Instead, she stuck with a more traditional-looking engraved mooncake design, though she’s playing around with other shapes for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>The bakery is also selling kits for preparing \u003ca href=\"https://www.anniestcakes.com/products/tang-yuan-soup-kit\">tang yuan soup\u003c/a>, a rice flour–based dessert that\u003cspan style=\"font-weight: 400\">’\u003c/span>s also commonly eaten during Lunar New Year.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up, Wang remembers that Lunar New Year was all about family time: making dumplings, playing mahjong, watching Chinese comedy skits on TV that she couldn’t understand. Wang’s Lunar New Year box is well suited for that kind of small, intimate gathering—the kind most people will be having to ring in the Year of the Tiger this coming month. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not a great time for the world,” Wang says. “But one of the small side benefits of the pandemic is a lot of people really got closer to their smaller circle.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://www.anniestcakes.com/\">Annie’s T Cakes\u003c/a> Lunar New Year Box ($30) is available for preorder through Jan. 18, with pickup at Little Giant Ice Cream (1951 Telegraph Ave., Oakland) Jan. 27–Feb. 1. Shipping is also available in California only. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Metallica, P!nk, Twenty One Pilots and Luke Combs will headline BottleRock 2022 in Napa.\u003c/p>\n\u003cp>The lineup for the Memorial Day festival also includes California rap supergroup Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), The Black Crowes, Pitbull, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Grandmaster Flash, Fantastic Negrito and many more. \u003c/p>\n\u003cp>BottleRock is scheduled to return at the kickoff of festival season, May 27–29, 2022, after a canceled festival in 2020 and a pandemic-delayed festival last year. That edition of BottleRock, in October 2021, brought over 100,000 spectators to see headliners Guns N’ Roses, Miley Cyrus, Foo Fighters and Megan Thee Stallion.\u003c/p>\n\u003cp>Three-day passes to this year’s festival go on sale Tuesday, Jan. 11, at 10am Pacific Time. Three-day passes start at $379 for general admission, with varying VIP tiers of $899, $1,699, $1,799, and—\u003cem>ahem\u003c/em>—$4,995. \u003c/p>\n\u003cp>Full lineup below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica\u003cbr>\nP!nk\u003cbr>\nTwenty One Pilots\u003cbr>\nLuke Combs\u003cbr>\nThe Black Crowes\u003cbr>\nKygo\u003cbr>\nPitbull\u003cbr>\nGreta Van Fleet\u003cbr>\nMount Westmore (featuring Snoop Dogg, Ice Cube, E-40 and Too $hort)\u003cbr>\nRainbow Kitten Surprise\u003cbr>\nCHVRCHES\u003cbr>\nBleachers\u003cbr>\nSpoon\u003cbr>\nBANKS\u003cbr>\nAlessia Cara\u003cbr>\nSAINt JHN\u003cbr>\nVance Joy\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nSilversun Pickups\u003cbr>\nThe Wailers featuring Julian Marley\u003cbr>\nIration\u003cbr>\nGreensky Bluegrass\u003cbr>\ngrandson\u003cbr>\nAmos Lee\u003cbr>\nYola\u003cbr>\nTai Verdes\u003cbr>\nMisterWives\u003cbr>\nMarcus King\u003cbr>\nFLETCHER\u003cbr>\nBahamas\u003cbr>\nNoah Kahan\u003cbr>\nGrandmaster Flash\u003cbr>\nMarc E. Bassy\u003cbr>\nFantastic Negrito\u003cbr>\nDrew Holcomb & The Neighbors\u003cbr>\nSkip Marley\u003cbr>\nKikagaku Moyo\u003cbr>\nRoyal & the Serpent\u003cbr>\nAly & AJ\u003cbr>\nJustus Bennetts\u003cbr>\nWild Rivers\u003cbr>\nKinky\u003cbr>\nTessa Violet\u003cbr>\nDorothy\u003cbr>\nFoy Vance\u003cbr>\nThe Brothers Comatose\u003cbr>\nJORDY\u003cbr>\nBlu DeTiger\u003cbr>\nAtlas Genius\u003cbr>\nJake Wesley Rogers\u003cbr>\nThe Happy Fits\u003cbr>\nDjo\u003cbr>\nAna Tijoux\u003cbr>\nAllison Ponthier\u003cbr>\nHot Milk\u003cbr>\nDiamante Eléctrico\u003cbr>\nDE’WAYNE\u003cbr>\nMadame Gandhi\u003cbr>\nLiily\u003cbr>\nThe Suffers\u003cbr>\nMotherfolk\u003cbr>\nEliza & The Delusionals\u003cbr>\nWilliam Prince\u003cbr>\nJames Tormé\u003cbr>\nTaipei Houston\u003cbr>\nBastardane\u003cbr>\nOTTTO\u003cbr>\nNiko Rubio\u003cbr>\nPeter Collins\u003cbr>\nJharrel Jerome\u003cbr>\nRon Artis II\u003cbr>\nFull Moonalice\u003cbr>\nThe Alive\u003cbr>\nJaleh\u003cbr>\nKosha Dillz\u003cbr>\nChelsea Effect\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), Alessia Cara, Grandmaster Flash and others also play the Memorial Day weekend festival in Napa. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica, P!nk, Twenty One Pilots and Luke Combs will headline BottleRock 2022 in Napa.\u003c/p>\n\u003cp>The lineup for the Memorial Day festival also includes California rap supergroup Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), The Black Crowes, Pitbull, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Grandmaster Flash, Fantastic Negrito and many more. \u003c/p>\n\u003cp>BottleRock is scheduled to return at the kickoff of festival season, May 27–29, 2022, after a canceled festival in 2020 and a pandemic-delayed festival last year. That edition of BottleRock, in October 2021, brought over 100,000 spectators to see headliners Guns N’ Roses, Miley Cyrus, Foo Fighters and Megan Thee Stallion.\u003c/p>\n\u003cp>Three-day passes to this year’s festival go on sale Tuesday, Jan. 11, at 10am Pacific Time. Three-day passes start at $379 for general admission, with varying VIP tiers of $899, $1,699, $1,799, and—\u003cem>ahem\u003c/em>—$4,995. \u003c/p>\n\u003cp>Full lineup below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dorian Electra, King Woman, Guapdad Headline Noise Pop’s Return",
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"content": "\u003cp>The Bay Area just finished up a successful fall festival run, with \u003ca href=\"https://www.kqed.org/arts/13902615/photos-bottlerock-returns-with-its-most-eclectic-lineup-yet\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Lights On\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13905586/photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> bringing chart-topping stars and up-and-coming acts before tens of thousands of fans. So, with vaccination rates rising and COVID cases on the decline, it only makes sense that \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> also makes its return after the shutdowns of this year and last. [aside postid='arts_13905536']\u003c/p>\n\u003cp>The homegrown music and arts festival will take place Feb. 21–27, 2022. And unlike the previously mentioned mega-fests, Noise Pop offers a chance to check out a variety of artists at a chiller pace, without the intense sensory overload of big stages and even bigger crowds. The festival is distributed among a variety of smaller clubs in San Francisco and the East Bay, including Rickshaw Stop, Gray Area and Cornerstone. Superfans can buy festival badges and party hop all week, but you’re also free to drop into individual shows as you like without making a big commitment. [aside postid='arts_13905208']\u003c/p>\n\u003cp>Today, Noise Pop announced the first phase of its lineup, with Oakland hip-hop star \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>, doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>, jazz drummer and hip-hop collaborator \u003ca href=\"https://www.makayamccraven.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a> and gender- and genre-bending experimentalist \u003ca href=\"https://www.dorianelectra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>. Festival badges are on sale now, and individual tickets will be released on Friday, Nov. 5, at 10am. More artists will be announced in the coming weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area just finished up a successful fall festival run, with \u003ca href=\"https://www.kqed.org/arts/13902615/photos-bottlerock-returns-with-its-most-eclectic-lineup-yet\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Lights On\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13905586/photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> bringing chart-topping stars and up-and-coming acts before tens of thousands of fans. So, with vaccination rates rising and COVID cases on the decline, it only makes sense that \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> also makes its return after the shutdowns of this year and last. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Noise Pop announced the first phase of its lineup, with Oakland hip-hop star \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>, doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>, jazz drummer and hip-hop collaborator \u003ca href=\"https://www.makayamccraven.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a> and gender- and genre-bending experimentalist \u003ca href=\"https://www.dorianelectra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>. Festival badges are on sale now, and individual tickets will be released on Friday, Nov. 5, at 10am. More artists will be announced in the coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival",
"headTitle": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival | KQED",
"content": "\u003cp>Earnest lyrics about love, soulful instrumentation and a little bit of nostalgia tend to bring out the best in people—something H.E.R. surely thought about when she curated the Lights On Festival. The event brought an unmistakably joyful mood to the Concord Pavilion this past weekend, Sept. 18 and 19. Tens of thousands of R&B lovers, mostly Black and brown women of different ages, showed up in their most fashion-forward outfits to belt along to legacy acts (Keyshia Cole and Erykah Badu), appreciate some of today’s biggest stars (H.E.R. and her surprise guests, Ari Lennox, Ty Dolla $ign) and discover up-and-coming talent (Tiana Major9, VanJess and so many others).\u003c/p>\n\u003cp>Several of the artists on stage, including Cole and Ty Dolla $ign, said Lights On was their first live performance since the pandemic. And indeed, the excited energy of emerging was palpable throughout the fest, with a receptive audience hanging on the artists’ every word, putting their cell phone lights up and cheering with maximum intensity. With one stage for lesser-known acts during the day and another for heavy hitters in the evening, the design of the festival made it easy to stay put in one location and take in the music with minimal distractions.\u003c/p>\n\u003cfigure id=\"attachment_13903421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903421\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5122.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being a chart-topping singer, H.E.R. is known for her guitar chops, and Lights On had a noticeable emphasis on live instrumentation. Masego let his saxophone rip as if playing in a basement jazz club during “Tadow.” Ty Dolla $ign performed radio bangers like “Paranoid“ and “Blasé Blasé” with a six-piece band that included a brass section and head-banging guitarist. Erykah Badu arrived Parliament-Funkadelic-style with a 10-piece ensemble dressed in white bodysuits, as if they had just arrived from an Afrofuturist spaceship. Newcomer Fousheé impressed by hitting Mariah Carey-level high notes while her band interspersed gritty, post-punk power chords into their R&B compositions.\u003c/p>\n\u003cp>Although the cynical among us often complain that popular music has given way to lazy backing-track performances and recordings salvaged by Auto-Tune, Lights On Festival celebrated care and craft as the true core of R&B.\u003c/p>\n\u003ch2>Greetings From Badubotron\u003c/h2>\n\u003cp>Neo-soul queen Erykah Badu and her sprawling, percussion-forward band transported the audience with jazz and funk interpolations of her beloved hits and newer songs alike on Saturday night. Badu came out to an electrofunk beat in a silver cape and let us know that we were about to take a trip to Badubotron, with laser lights shining down like tractor beams from a UFO. The only rule is “to each his own,” since we each only know what’s best for us, she explained in song.\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between tracks like “On & On,” “Next Lifetime” and “Window Seat,” Badu would instruct her band to cut the keys and bass so that the congas and other percussion instruments could rock the crowd. Their rhythms, passed down through generations of drummers, connected past to future when they were joined by the bleeps and bloops of a synthesizer. Rather than rush from song to song, her band played lengthy, extended versions that allowed the audience to really get into each groove.\u003c/p>\n\u003cfigure id=\"attachment_13903424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5144.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Apple Tree,” one of her early hits from \u003cem>Baduizm\u003c/em>, Badu showed she could scat with the best of them. Her improvisatory, free-spirited approach to her classic material was invigorating—a testament to her commitment to creatively challenging herself and making her own rules.\u003c/p>\n\u003cfigure id=\"attachment_13903415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4830.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Gives an Emotional Hometown Performance\u003c/h2>\n\u003cp>Oakland native Keyshia Cole doesn’t get brought up often enough in conversations about the R&B greats of the 2000s, but her powerhouse vocals and hit-after-hit setlist proved her standing. With a warm, honeyed timbre and runs that swelled into rapturous climaxes, Cole was a formidable presence at Lights On Saturday night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cole arrived in a pink, sculptural dress with a cadre of male back-up dancers, also head-to-toe in baby pink, and delved into scorned-woman missives like “I Should Have Cheated,” heartbreak confessionals like “Love” and get-your-life-on-the-dancefloor favorites like “Let It Go,” her track with Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13903413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4801.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set took an emotional turn when Cole and her DJ paid homage to her late mother Frankie Lons, who passed away in July. “I’m happy she was a part of my life and I was able to experience her, and I’m happy you guys were able to experience her. She was so funny, so hilarious,” said Cole before taking the audience to church with the ballad “Heaven Sent.”\u003c/p>\n\u003cfigure id=\"attachment_13903465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A6001.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>H.E.R. Gives a Star-Studded Finale\u003c/h2>\n\u003cp>As the festival curator and Sunday’s headlining artist, H.E.R. announced her mission statement to the crowd a few songs into her set: “I don’t know why people say R&B is dead when R&B lives in everything, it’s the foundation,” the 24-year-old Vallejo native said. That idea proved to be the guiding light behind her dynamic, star-studded performance, which immediately energized the audience with sparks exploding from the stage and a quartet of dancing brass players.\u003c/p>\n\u003cp>Dressed in a regal red cape, H.E.R. presided over an ensemble of 10 musicians and singers, running through larger-than-life renditions of hits like “We Goin Crazy” and “B.S.” But the real fun began when the special guests began to reveal themselves from behind the curtain. After H.E.R. played her new track “Closer to Me” on keyboard (the beat of which flips Goapele’s 2001 hit “Closer”), Goapele joined H.E.R. on stage so the two Bay Area natives could harmonize on the original.\u003c/p>\n\u003cfigure id=\"attachment_13903464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5979.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. and Goapele perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cameos only got more unexpected from there: Saweetie, another Bay Area native, came on to rap “Best Friend” in a pink fur coat; and Chloe Bailey (who’s proving to be the breakout star of Chloe x Halle) came on for a cover of Led Zeppelin’s “Black Dog,” with H.E.R. shredding on her Fender. (An appearance from Chris Brown, given his history of allegations, didn’t make sense at a festival largely celebrating women, but the cheering crowd didn’t seem to mind.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If H.E.R. set out to prove R&B’s enduring relevance, by the end of Lights On, there was no question she succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13903398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4407.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4464.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4422.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4410.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4476.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joyce Wrice backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4526.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4564.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4950.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4861.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4741.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4736.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903410\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4664.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903409\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4639.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5135.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5818.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryson Tiller performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5777.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess backstage at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5763.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5752.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5692.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5656.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5658.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903447\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5592.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5580.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5562.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5515.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5471.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5469.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5467.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5461.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd partakes in complementary carnival rides at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5412.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5391.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5360.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd has a dance off at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Chart-topping singer and Vallejo native H.E.R. curated a dynamic festival that included Keyshia Cole and Ty Dolla $ign.",
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"description": "Chart-topping singer and Vallejo native H.E.R. curated a dynamic festival that included Keyshia Cole and Ty Dolla $ign.",
"title": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival | KQED",
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"headline": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earnest lyrics about love, soulful instrumentation and a little bit of nostalgia tend to bring out the best in people—something H.E.R. surely thought about when she curated the Lights On Festival. The event brought an unmistakably joyful mood to the Concord Pavilion this past weekend, Sept. 18 and 19. Tens of thousands of R&B lovers, mostly Black and brown women of different ages, showed up in their most fashion-forward outfits to belt along to legacy acts (Keyshia Cole and Erykah Badu), appreciate some of today’s biggest stars (H.E.R. and her surprise guests, Ari Lennox, Ty Dolla $ign) and discover up-and-coming talent (Tiana Major9, VanJess and so many others).\u003c/p>\n\u003cp>Several of the artists on stage, including Cole and Ty Dolla $ign, said Lights On was their first live performance since the pandemic. And indeed, the excited energy of emerging was palpable throughout the fest, with a receptive audience hanging on the artists’ every word, putting their cell phone lights up and cheering with maximum intensity. With one stage for lesser-known acts during the day and another for heavy hitters in the evening, the design of the festival made it easy to stay put in one location and take in the music with minimal distractions.\u003c/p>\n\u003cfigure id=\"attachment_13903421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903421\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5122.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being a chart-topping singer, H.E.R. is known for her guitar chops, and Lights On had a noticeable emphasis on live instrumentation. Masego let his saxophone rip as if playing in a basement jazz club during “Tadow.” Ty Dolla $ign performed radio bangers like “Paranoid“ and “Blasé Blasé” with a six-piece band that included a brass section and head-banging guitarist. Erykah Badu arrived Parliament-Funkadelic-style with a 10-piece ensemble dressed in white bodysuits, as if they had just arrived from an Afrofuturist spaceship. Newcomer Fousheé impressed by hitting Mariah Carey-level high notes while her band interspersed gritty, post-punk power chords into their R&B compositions.\u003c/p>\n\u003cp>Although the cynical among us often complain that popular music has given way to lazy backing-track performances and recordings salvaged by Auto-Tune, Lights On Festival celebrated care and craft as the true core of R&B.\u003c/p>\n\u003ch2>Greetings From Badubotron\u003c/h2>\n\u003cp>Neo-soul queen Erykah Badu and her sprawling, percussion-forward band transported the audience with jazz and funk interpolations of her beloved hits and newer songs alike on Saturday night. Badu came out to an electrofunk beat in a silver cape and let us know that we were about to take a trip to Badubotron, with laser lights shining down like tractor beams from a UFO. The only rule is “to each his own,” since we each only know what’s best for us, she explained in song.\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between tracks like “On & On,” “Next Lifetime” and “Window Seat,” Badu would instruct her band to cut the keys and bass so that the congas and other percussion instruments could rock the crowd. Their rhythms, passed down through generations of drummers, connected past to future when they were joined by the bleeps and bloops of a synthesizer. Rather than rush from song to song, her band played lengthy, extended versions that allowed the audience to really get into each groove.\u003c/p>\n\u003cfigure id=\"attachment_13903424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5144.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Apple Tree,” one of her early hits from \u003cem>Baduizm\u003c/em>, Badu showed she could scat with the best of them. Her improvisatory, free-spirited approach to her classic material was invigorating—a testament to her commitment to creatively challenging herself and making her own rules.\u003c/p>\n\u003cfigure id=\"attachment_13903415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4830.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Gives an Emotional Hometown Performance\u003c/h2>\n\u003cp>Oakland native Keyshia Cole doesn’t get brought up often enough in conversations about the R&B greats of the 2000s, but her powerhouse vocals and hit-after-hit setlist proved her standing. With a warm, honeyed timbre and runs that swelled into rapturous climaxes, Cole was a formidable presence at Lights On Saturday night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cole arrived in a pink, sculptural dress with a cadre of male back-up dancers, also head-to-toe in baby pink, and delved into scorned-woman missives like “I Should Have Cheated,” heartbreak confessionals like “Love” and get-your-life-on-the-dancefloor favorites like “Let It Go,” her track with Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13903413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4801.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set took an emotional turn when Cole and her DJ paid homage to her late mother Frankie Lons, who passed away in July. “I’m happy she was a part of my life and I was able to experience her, and I’m happy you guys were able to experience her. She was so funny, so hilarious,” said Cole before taking the audience to church with the ballad “Heaven Sent.”\u003c/p>\n\u003cfigure id=\"attachment_13903465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A6001.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>H.E.R. Gives a Star-Studded Finale\u003c/h2>\n\u003cp>As the festival curator and Sunday’s headlining artist, H.E.R. announced her mission statement to the crowd a few songs into her set: “I don’t know why people say R&B is dead when R&B lives in everything, it’s the foundation,” the 24-year-old Vallejo native said. That idea proved to be the guiding light behind her dynamic, star-studded performance, which immediately energized the audience with sparks exploding from the stage and a quartet of dancing brass players.\u003c/p>\n\u003cp>Dressed in a regal red cape, H.E.R. presided over an ensemble of 10 musicians and singers, running through larger-than-life renditions of hits like “We Goin Crazy” and “B.S.” But the real fun began when the special guests began to reveal themselves from behind the curtain. After H.E.R. played her new track “Closer to Me” on keyboard (the beat of which flips Goapele’s 2001 hit “Closer”), Goapele joined H.E.R. on stage so the two Bay Area natives could harmonize on the original.\u003c/p>\n\u003cfigure id=\"attachment_13903464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5979.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. and Goapele perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cameos only got more unexpected from there: Saweetie, another Bay Area native, came on to rap “Best Friend” in a pink fur coat; and Chloe Bailey (who’s proving to be the breakout star of Chloe x Halle) came on for a cover of Led Zeppelin’s “Black Dog,” with H.E.R. shredding on her Fender. (An appearance from Chris Brown, given his history of allegations, didn’t make sense at a festival largely celebrating women, but the cheering crowd didn’t seem to mind.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If H.E.R. set out to prove R&B’s enduring relevance, by the end of Lights On, there was no question she succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13903398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4407.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4464.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4422.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4410.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4476.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joyce Wrice backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4526.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4564.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4950.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4861.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4741.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4736.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903410\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4664.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903409\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4639.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5135.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5818.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryson Tiller performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5777.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess backstage at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5763.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5752.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5692.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5656.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5658.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903447\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5592.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5580.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5562.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5515.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5471.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5469.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5467.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5461.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd partakes in complementary carnival rides at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5412.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5391.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5360.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd has a dance off at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"link": "/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival",
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"title": "PHOTOS: BottleRock Returns With Its Most Eclectic Lineup Yet",
"headTitle": "PHOTOS: BottleRock Returns With Its Most Eclectic Lineup Yet | KQED",
"content": "\u003cp>BottleRock has a reputation as a luxury experience curated for wealthy Napa wine drinkers, with past lineups consisting mostly of older rock acts and some pop sprinkled in. Yet this year’s edition, held Sept. 3-5 at the Napa Valley Expo, marked a turning point for the festival.\u003c/p>\n\u003cp>BottleRock 2021 saw many changes, and not just because of pandemic safety measures. More than that, it featured artists we might expect to see at niche festivals like Noise Pop and Rolling Loud. Miley Cyrus, Big Freedia and Brandi Carlile held prominent time slots on the bill and showcased queer representation across multiple genres. There was a new emphasis on hip-hop and rap acts, including Digable Planets, Run The Jewels and G-Eazy.\u003c/p>\n\u003cfigure id=\"attachment_13902578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2510.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2510-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus performs at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say whether it was pandemic concert deprivation or a fresh take on the lineup that packed the crowds at BottleRock this year. But one thing is for sure: it felt like a triumphant comeback for live music in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13902609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3183.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3183.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3183-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3183-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Megan Thee Stallion Celebrates Hot Girl Summer\u003c/h2>\n\u003cp>Megan Thee Stallion’s performance on Sunday, Sept. 5, drew a crowd of “hotties” ( as the Houston rapper calls her fans) who saw her as the true headliner of the night and chanted her name long before she took the stage. The Verizon Stage was just as packed, if not more so, than the main JaM Cellars Stage where Foo Fighters closed out the night.\u003c/p>\n\u003cfigure id=\"attachment_13902611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3232.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3232.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3232-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3232-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite playing for less than her scheduled 90 minutes, Megan Thee Stallion and her dancers made up for the lost time with their performance. Dressed in a black matching two-piece ensemble, Megan played hit after hit and delivered a show that made it worth getting stuck in traffic on the way out. She performed radio favorites “Savage,” “Hot Girl Summer” and “WAP,” her collab with Cardi B. The set also included classics like “Big Ole Freak” from 2018’s \u003cem>Tina Snow\u003c/em> for her longtime fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Full of sex-positive songs that embrace bodies of different shapes and sizes, the set was a power-packed performance that turned the tables on some of the misogynistic rap songs played earlier at the festival.\u003c/p>\n\u003cfigure id=\"attachment_13902545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1913.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1913.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1913-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1913-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Highwomen headline BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Highwomen Save the Day\u003c/h2>\n\u003cp>The Highwomen proved the Friday, Sept. 3, headline slot on the JaM Cellars stage wasn’t cursed (and saved the festival from a year of all-male headliners) after Chris Stapleton canceled at the last minute. The original BottleRock lineup featured Stevie Nicks as Friday’s headliner, and Stapleton was set to take her place after the Fleetwood Mac songstress canceled her 2021 live appearances because of COVID concerns.\u003c/p>\n\u003cfigure id=\"attachment_13902544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1886.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1886-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Highwomen headline BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Highwomen only have one full-length album, and had less than a day to put a show together, but Brandi Carlile and Maren Morris (who were already on Friday’s bill) called up the other half of their all-star band and took on the headline slot. The only hitch? Amanda Shires had recently undergone surgery and couldn’t make it. Thankfully, Natalie Hemby and a friend of The Highwomen, Brittney Spencer, were able to rush to Napa just in time to close out the night.\u003c/p>\n\u003cp>Carlile, who played an extended set and had less than an hour between gigs, admitted that this was The Highwomen’s second performance to date. Yet, backed by members of both Carlile’s and Morris’ bands, the supergroup gave Napa a healthy dose of country music.\u003c/p>\n\u003cfigure id=\"attachment_13902532\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1685.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Big Freedia Brings the Dance Party\u003c/h2>\n\u003cp>Earlier that Friday, Big Freedia treated BottleRock attendees to a flawless performance. Wearing a dazzling purple jumpsuit and equipped with backup dancers, the “queen diva” turned the Truly Stage into the biggest dance party of BottleRock weekend, silent disco included. The set marked the start of Big Freedia’s first tour back since COVID-19, and featured a makeshift imaginary catwalk on stage that had the crowd cheering during “Strut.” The set also included popular songs “Judas” and “Karaoke” featuring Lizzo.\u003c/p>\n\u003cfigure id=\"attachment_13902534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1710.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1710.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1710-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1710-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The biggest highlight of Big Freedia’s set came during “Azz Everywhere,” a song during which she normally invites fans on stage. Instead, the New Orleans performer asked fans to join her for a “COVID edition” of the song and asked the audience to put their hands on the metal barricade near the stage while Big Freedia twerked along with her fans. She even adapted the song lyrics to “hands on the rail, hands on the rail.”\u003c/p>\n\u003cfigure id=\"attachment_13902571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2251.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2251-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2251-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run The Jewels perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Run The Jewels Show in Three Years\u003c/h2>\n\u003cp>After releasing a new album during the height of the pandemic, it was clear Run The Jewels couldn’t wait to perform \u003cem>RTJ4\u003c/em> live for the first time. “I’m so happy to be the fuck out here,” Killer Mike told the crowd at BottleRock on Saturday, Sept. 4.\u003c/p>\n\u003cp>His partner in crime, El-P, admitted it was Run The Jewels’ first show in three years. But by the end, the pair delivered a performance that felt as though no time had passed. The crowd was ready to hear the songs too. Many repeated the words back to the duo. Others jumped along to the beat.\u003c/p>\n\u003cfigure id=\"attachment_13902576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2341.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2341.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2341-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2341-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run The Jewels perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pair flowed off each other seamlessly between “ooh la la,” “holy camalafuck” and “out of sight.” Danceable numbers aside, Killer Mike took a moment to note the pain many experienced during this pandemic at the end of the set. “We are all human beings,” he told the crowd before closing with the track “a few words for the firing squad.”\u003c/p>\n\u003cfigure id=\"attachment_13902592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2733.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2733.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2733-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Reyez and Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jessie Reyez, Jon Batiste Stun with Powerhouse Vocals\u003c/h2>\n\u003cp>Jessie Reyez might not be a household name, but there’s a good chance you’ve heard her music. Her set included a celebration of her first hit as a songwriter, “One Kiss,” which Reyez penned for Dua Lipa and dedicated to all the “dreamers” out there chasing their passions. But her own songs were the real gems, particularly “Sola,” a soft, acoustic track Reyez sang in Spanish alongside her guitarist Heather, about not fitting the mold of a good Latin woman.\u003c/p>\n\u003cfigure id=\"attachment_13902589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2721.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2721.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2721-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2721-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Reyez performs at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Shortly after, Jon Batiste played for the biggest crowd at the smaller Plaza Stage all weekend. Many know Batiste as the bandleader of Stay Human, the house band for \u003cem>The Late Show with Stephen Colbert\u003c/em>. Ever the showman, Batiste graced the crowd in royal blue sequins and a silver space cape that matched his backing band’s colorful wardrobe. A classically trained musician, Batiste wowed the crowd by switching between vocals, piano and melodica.\u003c/p>\n\u003cfigure id=\"attachment_13902594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2757.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2757.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2757-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2757-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste performs at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2741.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2741-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Reyez backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3009.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3009-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2968.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2968-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902583\" class=\"wp-caption aligncenter\" style=\"max-width: 773px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902583\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_6275.jpg\" alt=\"\" width=\"773\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_6275.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_6275-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_6275-768x576.jpg 768w\" sizes=\"(max-width: 773px) 100vw, 773px\">\u003cfigcaption class=\"wp-caption-text\">Digable Planets backstage at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2553.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2553-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2553-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disable Planets perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2620.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2620-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2620-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2597.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2597-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2597-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Eat World perform at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1833.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1833.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1833-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1833-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Polo G performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2853.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2853.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2853-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2853-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cage The Elephant perform at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1420.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1420-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1420-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chromeo perform at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1501.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1501-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1501-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia and Kosha Dillz backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902537\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1761.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1761-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1761-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1776.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1776.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1776-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2014.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2014.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2014-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayesha Curry and G-Eazy cook together at the Williams Sonoma Culinary Stage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2051.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2051.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2051-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2051-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young The Giant perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2154.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2154.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2154-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2154-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2100.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2100.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2100-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2100-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Olivia O’Brien performs at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Megan Thee Stallion, The Highwomen and Jessie Reyez were standouts at the Napa Valley music festival over Labor Day weekend. ",
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"description": "Megan Thee Stallion, The Highwomen and Jessie Reyez were standouts at the Napa Valley music festival over Labor Day weekend. ",
"title": "PHOTOS: BottleRock Returns With Its Most Eclectic Lineup Yet | KQED",
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"headline": "PHOTOS: BottleRock Returns With Its Most Eclectic Lineup Yet",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BottleRock has a reputation as a luxury experience curated for wealthy Napa wine drinkers, with past lineups consisting mostly of older rock acts and some pop sprinkled in. Yet this year’s edition, held Sept. 3-5 at the Napa Valley Expo, marked a turning point for the festival.\u003c/p>\n\u003cp>BottleRock 2021 saw many changes, and not just because of pandemic safety measures. More than that, it featured artists we might expect to see at niche festivals like Noise Pop and Rolling Loud. Miley Cyrus, Big Freedia and Brandi Carlile held prominent time slots on the bill and showcased queer representation across multiple genres. There was a new emphasis on hip-hop and rap acts, including Digable Planets, Run The Jewels and G-Eazy.\u003c/p>\n\u003cfigure id=\"attachment_13902578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2510.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2510-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus performs at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say whether it was pandemic concert deprivation or a fresh take on the lineup that packed the crowds at BottleRock this year. But one thing is for sure: it felt like a triumphant comeback for live music in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13902609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3183.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3183.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3183-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3183-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Megan Thee Stallion Celebrates Hot Girl Summer\u003c/h2>\n\u003cp>Megan Thee Stallion’s performance on Sunday, Sept. 5, drew a crowd of “hotties” ( as the Houston rapper calls her fans) who saw her as the true headliner of the night and chanted her name long before she took the stage. The Verizon Stage was just as packed, if not more so, than the main JaM Cellars Stage where Foo Fighters closed out the night.\u003c/p>\n\u003cfigure id=\"attachment_13902611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3232.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3232.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3232-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3232-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite playing for less than her scheduled 90 minutes, Megan Thee Stallion and her dancers made up for the lost time with their performance. Dressed in a black matching two-piece ensemble, Megan played hit after hit and delivered a show that made it worth getting stuck in traffic on the way out. She performed radio favorites “Savage,” “Hot Girl Summer” and “WAP,” her collab with Cardi B. The set also included classics like “Big Ole Freak” from 2018’s \u003cem>Tina Snow\u003c/em> for her longtime fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Full of sex-positive songs that embrace bodies of different shapes and sizes, the set was a power-packed performance that turned the tables on some of the misogynistic rap songs played earlier at the festival.\u003c/p>\n\u003cfigure id=\"attachment_13902545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1913.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1913.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1913-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1913-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Highwomen headline BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Highwomen Save the Day\u003c/h2>\n\u003cp>The Highwomen proved the Friday, Sept. 3, headline slot on the JaM Cellars stage wasn’t cursed (and saved the festival from a year of all-male headliners) after Chris Stapleton canceled at the last minute. The original BottleRock lineup featured Stevie Nicks as Friday’s headliner, and Stapleton was set to take her place after the Fleetwood Mac songstress canceled her 2021 live appearances because of COVID concerns.\u003c/p>\n\u003cfigure id=\"attachment_13902544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1886.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1886-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Highwomen headline BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Highwomen only have one full-length album, and had less than a day to put a show together, but Brandi Carlile and Maren Morris (who were already on Friday’s bill) called up the other half of their all-star band and took on the headline slot. The only hitch? Amanda Shires had recently undergone surgery and couldn’t make it. Thankfully, Natalie Hemby and a friend of The Highwomen, Brittney Spencer, were able to rush to Napa just in time to close out the night.\u003c/p>\n\u003cp>Carlile, who played an extended set and had less than an hour between gigs, admitted that this was The Highwomen’s second performance to date. Yet, backed by members of both Carlile’s and Morris’ bands, the supergroup gave Napa a healthy dose of country music.\u003c/p>\n\u003cfigure id=\"attachment_13902532\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1685.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Big Freedia Brings the Dance Party\u003c/h2>\n\u003cp>Earlier that Friday, Big Freedia treated BottleRock attendees to a flawless performance. Wearing a dazzling purple jumpsuit and equipped with backup dancers, the “queen diva” turned the Truly Stage into the biggest dance party of BottleRock weekend, silent disco included. The set marked the start of Big Freedia’s first tour back since COVID-19, and featured a makeshift imaginary catwalk on stage that had the crowd cheering during “Strut.” The set also included popular songs “Judas” and “Karaoke” featuring Lizzo.\u003c/p>\n\u003cfigure id=\"attachment_13902534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1710.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1710.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1710-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1710-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The biggest highlight of Big Freedia’s set came during “Azz Everywhere,” a song during which she normally invites fans on stage. Instead, the New Orleans performer asked fans to join her for a “COVID edition” of the song and asked the audience to put their hands on the metal barricade near the stage while Big Freedia twerked along with her fans. She even adapted the song lyrics to “hands on the rail, hands on the rail.”\u003c/p>\n\u003cfigure id=\"attachment_13902571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2251.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2251-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2251-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run The Jewels perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The First Run The Jewels Show in Three Years\u003c/h2>\n\u003cp>After releasing a new album during the height of the pandemic, it was clear Run The Jewels couldn’t wait to perform \u003cem>RTJ4\u003c/em> live for the first time. “I’m so happy to be the fuck out here,” Killer Mike told the crowd at BottleRock on Saturday, Sept. 4.\u003c/p>\n\u003cp>His partner in crime, El-P, admitted it was Run The Jewels’ first show in three years. But by the end, the pair delivered a performance that felt as though no time had passed. The crowd was ready to hear the songs too. Many repeated the words back to the duo. Others jumped along to the beat.\u003c/p>\n\u003cfigure id=\"attachment_13902576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2341.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2341.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2341-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2341-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run The Jewels perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pair flowed off each other seamlessly between “ooh la la,” “holy camalafuck” and “out of sight.” Danceable numbers aside, Killer Mike took a moment to note the pain many experienced during this pandemic at the end of the set. “We are all human beings,” he told the crowd before closing with the track “a few words for the firing squad.”\u003c/p>\n\u003cfigure id=\"attachment_13902592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2733.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2733.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2733-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Reyez and Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jessie Reyez, Jon Batiste Stun with Powerhouse Vocals\u003c/h2>\n\u003cp>Jessie Reyez might not be a household name, but there’s a good chance you’ve heard her music. Her set included a celebration of her first hit as a songwriter, “One Kiss,” which Reyez penned for Dua Lipa and dedicated to all the “dreamers” out there chasing their passions. But her own songs were the real gems, particularly “Sola,” a soft, acoustic track Reyez sang in Spanish alongside her guitarist Heather, about not fitting the mold of a good Latin woman.\u003c/p>\n\u003cfigure id=\"attachment_13902589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2721.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2721.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2721-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2721-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Reyez performs at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly after, Jon Batiste played for the biggest crowd at the smaller Plaza Stage all weekend. Many know Batiste as the bandleader of Stay Human, the house band for \u003cem>The Late Show with Stephen Colbert\u003c/em>. Ever the showman, Batiste graced the crowd in royal blue sequins and a silver space cape that matched his backing band’s colorful wardrobe. A classically trained musician, Batiste wowed the crowd by switching between vocals, piano and melodica.\u003c/p>\n\u003cfigure id=\"attachment_13902594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2757.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2757.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2757-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2757-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste performs at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2741.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2741-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Reyez backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A3009.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A3009-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2968.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2968-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902583\" class=\"wp-caption aligncenter\" style=\"max-width: 773px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902583\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_6275.jpg\" alt=\"\" width=\"773\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_6275.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_6275-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_6275-768x576.jpg 768w\" sizes=\"(max-width: 773px) 100vw, 773px\">\u003cfigcaption class=\"wp-caption-text\">Digable Planets backstage at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2553.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2553-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2553-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disable Planets perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2620.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2620-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2620-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2597.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2597-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2597-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Eat World perform at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1833.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1833.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1833-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1833-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Polo G performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2853.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2853.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2853-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2853-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cage The Elephant perform at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1420.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1420-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1420-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chromeo perform at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1501.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1501-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1501-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia and Kosha Dillz backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902537\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1761.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1761-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1761-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1776.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1776.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1776-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1776-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2014.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2014.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2014-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy performs at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A1479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayesha Curry and G-Eazy cook together at the Williams Sonoma Culinary Stage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2051.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2051.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2051-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2051-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young The Giant perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2154.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2154.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2154-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2154-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man perform at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2100.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2100.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2100-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2100-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Olivia O’Brien performs at BottleRock Napa Valley festival on Saturday, Sept. 4, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "This Fall, Bay Area Food Events Emphasize Culture and Community",
"headTitle": "This Fall, Bay Area Food Events Emphasize Culture and Community | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">It’s no secret that fall is the real Bay Area summer, when temperatures push into the 80s and 90s—and, air quality permitting, food lovers loosen their pants and head outdoors for the region’s biggest and most highly anticipated food festivals. It’s stunt taco season. Fried food on a stick season. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year, of course, the delta variant had something to say about all that, and concerns about super spreader events put the kibosh on the largest of these in-person gatherings. Eat Real Fest was canceled \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPTRnx3BvGp/\">\u003cspan style=\"font-weight: 400\">months ago\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://lacocinasf.org/event-calendar/sf-food-festival\">\u003cspan style=\"font-weight: 400\">La Cocina’s annual San Francisco Street Food Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> won’t be happening this October.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, this fall does offer some of the first opportunities food lovers have had in a year and a half to gather in person—mostly outdoors, with masks—with a few hundred other mooncake connoisseurs or vegan burrito enthusiasts. In fact, this year’s small but mighty slate of food festivals looks more community-oriented and culturally significant than ever. Feel more comfortable chilling out at home with a virtual event? We’ve got a few options for you as well.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13901744\" class=\"wp-caption aligncenter\" style=\"max-width: 827px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg\" alt=\"Hand holding a burrito split open so you can see the cross section of the filling: rice, refried beans, avocado.\" width=\"827\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg 827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-800x930.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-768x892.jpg 768w\" sizes=\"(max-width: 827px) 100vw, 827px\">\u003cfigcaption class=\"wp-caption-text\">A vegan burrito from De La Tierra Mexican Food. \u003ccite>(Erika Hazel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bizerkeley Food Festival\u003c/h2>\n\u003cp>\u003ci>2727 Milvia Street, Berkeley\u003cbr>\nSeptember 5, 2021, 11am–5pm\u003cbr>\n\u003ca href=\"https://www.thebizerkeleyvegan.com/foodfest\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Touted as Berkeley’s first ever dedicated vegan food festival, the Bizerkeley is the brainchild of Erika Hazel, a \u003ca href=\"https://www.thebizerkeleyvegan.com/\">vegan food blogger\u003c/a> and first-time festival organizer whose stated goal is to bring all of California’s most amazing vegan food to her adopted hometown—a daylong event held in Sports Basement’s spacious parking lot. In order to help attendees to experience the breadth and depth of today’s vegan scene, Hazel says the curated vendor lineup won’t include any duplicate cuisines: Brisbane-based \u003c/span>\u003ca href=\"https://chefreina.com/\">\u003cspan style=\"font-weight: 400\">Chef Reina\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will have the only booth selling Filipino food; \u003c/span>\u003ca href=\"https://www.calidawg.com/\">\u003cspan style=\"font-weight: 400\">Cali Dawg\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a popular pop-up from the Central Coast, will be the only one selling vegan hot dogs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Hazel says, is to change the way that vegan food is perceived—even in famously vegan-friendly Berkeley. “It’s not just rabbit food,” she says. “It can be lasagna, ribs, hot dogs.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tickets ($5) for the masked, socially-distanced event must be purchased online in advance, with 50 percent of proceeds benefiting \u003c/span>\u003ca href=\"https://friendsofbacs.org/\">\u003cspan style=\"font-weight: 400\">Friends of Berkeley Animal Care Services\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. On the day of the event itself, everything will be sold a la carte, and each booth is required to offer at least one affordable $5 option.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901757\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg\" alt=\"Schoolchildren in face masks stringing up paper lanterns in Clinton Park, Oakland.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Children string up paper lanterns at Clinton Park during the 2020 edition of the Little Saigon Mid-Autumn Festival. \u003ccite>(Good Good Eatz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland Little Saigon Mid-Autumn Festival\u003c/h2>\n\u003cp>\u003ci>Clinton Park, Oakland\u003cbr>\nSeptember 18, 2021, noon–5pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTsCJRmJA9C/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for Eastlake Little Saigon’s big Mid-Autumn Festival celebration, the nonprofit Good Good Eatz and the Oakland Vietnamese Chamber of Commerce are distributing 2,000 colorful paper lanterns to four local schools so that the students can paint and decorate them. On Sept. 18, the lanterns will light up dozens of restaurants around Eastlake, acting as beacons to draw customers toward delicious pho and banh mi at neighborhood standards like Pho Vy, Pho Mekong and Cam Huong. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing an \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900641/pokemon-go-little-saigon-oakland-vietnamese-food\">\u003cspan style=\"font-weight: 400\">ongoing cross-promotion with Pokémon Go developer Niantic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, many of the restaurants and markets will be designated as Pokéstops, where players of the augmented reality game can accrue power-ups. In further keeping with the Vietnamese emphasis of Mid-Autumn Festival as a children’s holiday—like Halloween for Americans, Good Good Eatz co-founder Trinh Banh explains—kids will be able to go around and collect miniature mooncakes and other goodies from many of the participating merchants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This will be a masked event, and COVID vaccination and testing will be available at Clinton Park.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901761\" class=\"wp-caption aligncenter\" style=\"max-width: 2006px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg\" alt=\"Deep red gochujang Korean pepper paste in a traditional earthenware pot.\" width=\"2006\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg 2006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-800x1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1020x1302.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-768x980.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1204x1536.jpg 1204w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1605x2048.jpg 1605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1920x2450.jpg 1920w\" sizes=\"(max-width: 2006px) 100vw, 2006px\">\u003cfigcaption class=\"wp-caption-text\">Homemade gochujang in a traditional earthenware pot. \u003ccite>(Sarah Kim-Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>K-Food Gochujang Festival\u003c/h2>\n\u003cp>\u003ci>Presidio of San Francisco, Presidio Theatre Outdoor Plaza\u003cbr>\nSeptember 18, 2021, 11am–2pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTN-0DfJvbL/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s Korean Consulate was all set to bring back its in-person Chuseok Festival (i.e., Korean harvest festival) when the delta variant put a damper on plans for such a large gathering. The good news is that while the Chuseok Festival is going all virtual (see below), the organizers had at least one smaller outdoor event in their back pocket, and it’s a rare treat: a gochujang-making class, with all of the materials—including the onggi, or traditional earthenware vessel—provided free of charge. Perhaps best known to American diners as the hot pepper paste used in bibimbap, gochujang is something that many Korean families no longer know how to make in the traditional way, according to event organizer Sarah Kim-Lee. “It’s a dying art in a way,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Luckily enough for participants in the workshop, Sun-Young Chang, author of the pioneering cookbook \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Korean Mother’s Cooking Notes\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, will walk them through the process of preparing the gochujang and wrapping it beautifully inside the onggi, and participants will bring home the finished product, which will need to ferment at home for three months before it’s ready to eat. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spots are extremely limited, so if you’d like to sign up, email Kim-Lee ASAP at koreancookingsf@gmail.com. It’s also fine to just come as a spectator, especially since there will be four local chefs on hand to demonstrate how to cook with gochujang. Proof of vaccination or negative COVID test will be required for admission.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901763\" class=\"wp-caption aligncenter\" style=\"max-width: 2038px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg\" alt='Colorfully painted bus with a \"SOMA Pilipinas\" sign in front.' width=\"2038\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg 2038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1920x1287.jpg 1920w\" sizes=\"(max-width: 2038px) 100vw, 2038px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted “SOMA Pilipinas” bus marks the entrance to Kapwa Gardens, one of the Culture Crawl’s featured venues. \u003ccite>(Mogli Maureal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Undiscovered SF Culture Crawl 2021\u003c/h2>\n\u003cp>\u003ci>Mission Street between 3rd and 7th, San Francisco; virtual\u003cbr>\nOctober 16, 2021, noon–6pm\u003cbr>\n\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the \u003c/span>\u003cspan style=\"font-weight: 400\">SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901766\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg\" alt=\"Woman dressed in traditional Korean clothing prepares a dish made with instant noodles.\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A cook demonstrates how to make jjapaguri, a dish made with instant noodles, during the 2020 edition of the virtual Chuseok Festival. \u003ccite>(San Francisco Chuseok Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuseok Festival\u003c/h2>\n\u003cp>\u003ci>Virtual\u003cbr>\nOct. 20–Oct. 27, 2021\u003cbr>\n\u003ca href=\"https://koreancentersf.org/chuseok2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of San Francisco’s annual Chuseok Festival made a hard pivot just a couple of weeks ago, cancelling their plans for a large, extensive in-person event to instead focus their efforts on building an entire week’s worth of free, all-virtual festivities. Few of those plans have been finalized yet, but the organizers confirm that there will be a number of food and beverage workshops in the mix—perhaps a demonstration of how to make makgeolli, the milky Korean home brew, for instance. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902156\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/lumpia_districtsix.jpg\" alt=\"Two different kinds of lumpia in a cardboard takeout container.\" width=\"1000\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">LumpiaPalooza will be a celebration of all things lumpia. \u003ccite>(District Six)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>LumpiaPalooza\u003c/h2>\n\u003cp>\u003ci>District Six, 428 11th Street, San Francisco\u003cbr>\nOct. 23–Oct. 24, 2021\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/lumpiapalooza-tickets-165622835359?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just before the end of Filipino American History Month, LumpiaPalooza is, of course, a celebration of all things lumpia. Ten different vendors, including Oakland’s \u003c/span>\u003ca href=\"https://www.instagram.com/thelumpiacompany/?hl=en\">\u003cspan style=\"font-weight: 400\">Lumpia Company\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Hayward-based \u003c/span>\u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">Marley’s Treats\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, will each offer their own signature version of the quintessential Filipino deep-fried treat—from traditional pork- and chicken-filled versions to dessert lumpia, vegan lumpia and unorthodox, hybridized creations inspired by cheeseburgers or elote. And, for the brave of heart, there will be a lumpia eating contest too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because of COVID safety concerns, this year’s LumpiaPalooza will be spread across two days to help reduce the crowds, and District Six’s 18,000-square-foot outdoor space should allow for plenty of social distancing. That said, folks should come expecting a party—especially with legendary hype man Fran Boogie hosting and Bay Area icon DJ Shortkut behind the decks.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902133\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg\" alt=\"A Día de los Muertos family altar display featuring a skull wearing a face mask. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Día de los Muertos Festival will be a socially distanced event. \u003ccite>(The Unity Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Día de los Muertos Festival and Fruitvale Restaurant Week\u003c/h2>\n\u003cp>\u003ci>International Boulevard, from Fruitvale Ave. to 40th Ave., Oakland\u003cbr>\nOct. 24–Oct. 31, 2021\u003cbr>\n\u003ca href=\"https://diaoakland.com/?ltclid=77d11583-837a-4d21-90d6-8c9422880804\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Normally one of the busiest and most lively days of the year in Oakland’s heavily Mexican and Latin American Fruitvale district, this year’s Día de los Muertos Festival will mark a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">partial\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> return to the before-times celebration of this holiday honoring the dead. The jaw-droppingly athletic Aztec dancers, the sleek lowriders and the moving and intricately assembled ofrendas will all be back for this year’s festival, which takes place Oct. 31, says \u003c/span>\u003cspan style=\"font-weight: 400\">Itzel Diaz-Romo\u003c/span>\u003cspan style=\"font-weight: 400\">, the I\u003c/span>\u003cspan style=\"font-weight: 400\">nterim Director of Development & Communications for the \u003c/span>\u003cspan style=\"font-weight: 400\">Unity Council, which is organizing the event. The performances and displays will just be spread out throughout the district to prevent crowds from accumulating at any one place. COVID vaccines and testing will be available on site.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest difference, for food lovers, is that there won’t be any street vendors hawking tamales or pupusas this year. Instead, in an effort to support local restaurants, the week leading up to Día de los Muertos has been designated, as it was last year, as Fruitvale Restaurant Week. Details are still being finalized, but it’s likely that all participating restaurants will offer a $20 meal deal that includes a drink.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901765\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg\" alt=\"A collage of images from the 2020 Kimchi Cook-Off.\" width=\"2560\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-2048x977.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1920x916.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A collage of images from the 2020 Kimchi Cook-Off. \u003ccite>(Kimchi Cook-Off)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Korean Kimchi Festival and Cook-Off\u003c/h2>\n\u003cp>\u003ci>The Culinary Institute of America at Copia, Napa\u003cbr>\nNovember 7, 2021\u003cbr>\n\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For those looking for a more hands-on food event, a kimchi cook-off might be just the thing. Part of an international series sponsored by the Jongga kimchi company in partnership with prominent culinary schools, this year’s Bay Area edition will take place at the CIA at Copia in downtown Napa, pitting eight finalists against each other to cook their own original recipes that incorporate kimchi. Top finishers will take home cash prizes. Kimchi enthusiasts who think they’ve got the right stuff simply need to submit an \u003c/span>\u003ca href=\"https://www.facebook.com/events/207820298049424/?ref=newsfeed\">\u003cspan style=\"font-weight: 400\">audition video\u003c/span>\u003c/a> to apply\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Festival director HJ Park says the original plan was to allow up to 200 audience members—each of whom would take home a DIY kimchi goodie bag—but since it’s an indoor event, those plans are up in the air. Either way, the whole competition will be livestreamed via the event’s \u003c/span>\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\">\u003cspan style=\"font-weight: 400\">Facebook page\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n",
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"excerpt": "In our fall preview of food events, you'll find lumpia, kimchi, pho, gochujang, banh mi and more.",
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"title": "This Fall, Bay Area Food Events Emphasize Culture and Community | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">It’s no secret that fall is the real Bay Area summer, when temperatures push into the 80s and 90s—and, air quality permitting, food lovers loosen their pants and head outdoors for the region’s biggest and most highly anticipated food festivals. It’s stunt taco season. Fried food on a stick season. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year, of course, the delta variant had something to say about all that, and concerns about super spreader events put the kibosh on the largest of these in-person gatherings. Eat Real Fest was canceled \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPTRnx3BvGp/\">\u003cspan style=\"font-weight: 400\">months ago\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://lacocinasf.org/event-calendar/sf-food-festival\">\u003cspan style=\"font-weight: 400\">La Cocina’s annual San Francisco Street Food Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> won’t be happening this October.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, this fall does offer some of the first opportunities food lovers have had in a year and a half to gather in person—mostly outdoors, with masks—with a few hundred other mooncake connoisseurs or vegan burrito enthusiasts. In fact, this year’s small but mighty slate of food festivals looks more community-oriented and culturally significant than ever. Feel more comfortable chilling out at home with a virtual event? We’ve got a few options for you as well.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13901744\" class=\"wp-caption aligncenter\" style=\"max-width: 827px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg\" alt=\"Hand holding a burrito split open so you can see the cross section of the filling: rice, refried beans, avocado.\" width=\"827\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg 827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-800x930.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-768x892.jpg 768w\" sizes=\"(max-width: 827px) 100vw, 827px\">\u003cfigcaption class=\"wp-caption-text\">A vegan burrito from De La Tierra Mexican Food. \u003ccite>(Erika Hazel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bizerkeley Food Festival\u003c/h2>\n\u003cp>\u003ci>2727 Milvia Street, Berkeley\u003cbr>\nSeptember 5, 2021, 11am–5pm\u003cbr>\n\u003ca href=\"https://www.thebizerkeleyvegan.com/foodfest\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Touted as Berkeley’s first ever dedicated vegan food festival, the Bizerkeley is the brainchild of Erika Hazel, a \u003ca href=\"https://www.thebizerkeleyvegan.com/\">vegan food blogger\u003c/a> and first-time festival organizer whose stated goal is to bring all of California’s most amazing vegan food to her adopted hometown—a daylong event held in Sports Basement’s spacious parking lot. In order to help attendees to experience the breadth and depth of today’s vegan scene, Hazel says the curated vendor lineup won’t include any duplicate cuisines: Brisbane-based \u003c/span>\u003ca href=\"https://chefreina.com/\">\u003cspan style=\"font-weight: 400\">Chef Reina\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will have the only booth selling Filipino food; \u003c/span>\u003ca href=\"https://www.calidawg.com/\">\u003cspan style=\"font-weight: 400\">Cali Dawg\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a popular pop-up from the Central Coast, will be the only one selling vegan hot dogs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Hazel says, is to change the way that vegan food is perceived—even in famously vegan-friendly Berkeley. “It’s not just rabbit food,” she says. “It can be lasagna, ribs, hot dogs.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tickets ($5) for the masked, socially-distanced event must be purchased online in advance, with 50 percent of proceeds benefiting \u003c/span>\u003ca href=\"https://friendsofbacs.org/\">\u003cspan style=\"font-weight: 400\">Friends of Berkeley Animal Care Services\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. On the day of the event itself, everything will be sold a la carte, and each booth is required to offer at least one affordable $5 option.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901757\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg\" alt=\"Schoolchildren in face masks stringing up paper lanterns in Clinton Park, Oakland.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Children string up paper lanterns at Clinton Park during the 2020 edition of the Little Saigon Mid-Autumn Festival. \u003ccite>(Good Good Eatz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland Little Saigon Mid-Autumn Festival\u003c/h2>\n\u003cp>\u003ci>Clinton Park, Oakland\u003cbr>\nSeptember 18, 2021, noon–5pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTsCJRmJA9C/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for Eastlake Little Saigon’s big Mid-Autumn Festival celebration, the nonprofit Good Good Eatz and the Oakland Vietnamese Chamber of Commerce are distributing 2,000 colorful paper lanterns to four local schools so that the students can paint and decorate them. On Sept. 18, the lanterns will light up dozens of restaurants around Eastlake, acting as beacons to draw customers toward delicious pho and banh mi at neighborhood standards like Pho Vy, Pho Mekong and Cam Huong. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing an \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900641/pokemon-go-little-saigon-oakland-vietnamese-food\">\u003cspan style=\"font-weight: 400\">ongoing cross-promotion with Pokémon Go developer Niantic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, many of the restaurants and markets will be designated as Pokéstops, where players of the augmented reality game can accrue power-ups. In further keeping with the Vietnamese emphasis of Mid-Autumn Festival as a children’s holiday—like Halloween for Americans, Good Good Eatz co-founder Trinh Banh explains—kids will be able to go around and collect miniature mooncakes and other goodies from many of the participating merchants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This will be a masked event, and COVID vaccination and testing will be available at Clinton Park.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901761\" class=\"wp-caption aligncenter\" style=\"max-width: 2006px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg\" alt=\"Deep red gochujang Korean pepper paste in a traditional earthenware pot.\" width=\"2006\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg 2006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-800x1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1020x1302.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-768x980.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1204x1536.jpg 1204w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1605x2048.jpg 1605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1920x2450.jpg 1920w\" sizes=\"(max-width: 2006px) 100vw, 2006px\">\u003cfigcaption class=\"wp-caption-text\">Homemade gochujang in a traditional earthenware pot. \u003ccite>(Sarah Kim-Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>K-Food Gochujang Festival\u003c/h2>\n\u003cp>\u003ci>Presidio of San Francisco, Presidio Theatre Outdoor Plaza\u003cbr>\nSeptember 18, 2021, 11am–2pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTN-0DfJvbL/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s Korean Consulate was all set to bring back its in-person Chuseok Festival (i.e., Korean harvest festival) when the delta variant put a damper on plans for such a large gathering. The good news is that while the Chuseok Festival is going all virtual (see below), the organizers had at least one smaller outdoor event in their back pocket, and it’s a rare treat: a gochujang-making class, with all of the materials—including the onggi, or traditional earthenware vessel—provided free of charge. Perhaps best known to American diners as the hot pepper paste used in bibimbap, gochujang is something that many Korean families no longer know how to make in the traditional way, according to event organizer Sarah Kim-Lee. “It’s a dying art in a way,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Luckily enough for participants in the workshop, Sun-Young Chang, author of the pioneering cookbook \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Korean Mother’s Cooking Notes\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, will walk them through the process of preparing the gochujang and wrapping it beautifully inside the onggi, and participants will bring home the finished product, which will need to ferment at home for three months before it’s ready to eat. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spots are extremely limited, so if you’d like to sign up, email Kim-Lee ASAP at koreancookingsf@gmail.com. It’s also fine to just come as a spectator, especially since there will be four local chefs on hand to demonstrate how to cook with gochujang. Proof of vaccination or negative COVID test will be required for admission.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901763\" class=\"wp-caption aligncenter\" style=\"max-width: 2038px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg\" alt='Colorfully painted bus with a \"SOMA Pilipinas\" sign in front.' width=\"2038\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg 2038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1920x1287.jpg 1920w\" sizes=\"(max-width: 2038px) 100vw, 2038px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted “SOMA Pilipinas” bus marks the entrance to Kapwa Gardens, one of the Culture Crawl’s featured venues. \u003ccite>(Mogli Maureal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Undiscovered SF Culture Crawl 2021\u003c/h2>\n\u003cp>\u003ci>Mission Street between 3rd and 7th, San Francisco; virtual\u003cbr>\nOctober 16, 2021, noon–6pm\u003cbr>\n\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the \u003c/span>\u003cspan style=\"font-weight: 400\">SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901766\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg\" alt=\"Woman dressed in traditional Korean clothing prepares a dish made with instant noodles.\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A cook demonstrates how to make jjapaguri, a dish made with instant noodles, during the 2020 edition of the virtual Chuseok Festival. \u003ccite>(San Francisco Chuseok Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuseok Festival\u003c/h2>\n\u003cp>\u003ci>Virtual\u003cbr>\nOct. 20–Oct. 27, 2021\u003cbr>\n\u003ca href=\"https://koreancentersf.org/chuseok2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of San Francisco’s annual Chuseok Festival made a hard pivot just a couple of weeks ago, cancelling their plans for a large, extensive in-person event to instead focus their efforts on building an entire week’s worth of free, all-virtual festivities. Few of those plans have been finalized yet, but the organizers confirm that there will be a number of food and beverage workshops in the mix—perhaps a demonstration of how to make makgeolli, the milky Korean home brew, for instance. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902156\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/lumpia_districtsix.jpg\" alt=\"Two different kinds of lumpia in a cardboard takeout container.\" width=\"1000\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">LumpiaPalooza will be a celebration of all things lumpia. \u003ccite>(District Six)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>LumpiaPalooza\u003c/h2>\n\u003cp>\u003ci>District Six, 428 11th Street, San Francisco\u003cbr>\nOct. 23–Oct. 24, 2021\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/lumpiapalooza-tickets-165622835359?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just before the end of Filipino American History Month, LumpiaPalooza is, of course, a celebration of all things lumpia. Ten different vendors, including Oakland’s \u003c/span>\u003ca href=\"https://www.instagram.com/thelumpiacompany/?hl=en\">\u003cspan style=\"font-weight: 400\">Lumpia Company\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Hayward-based \u003c/span>\u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">Marley’s Treats\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, will each offer their own signature version of the quintessential Filipino deep-fried treat—from traditional pork- and chicken-filled versions to dessert lumpia, vegan lumpia and unorthodox, hybridized creations inspired by cheeseburgers or elote. And, for the brave of heart, there will be a lumpia eating contest too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because of COVID safety concerns, this year’s LumpiaPalooza will be spread across two days to help reduce the crowds, and District Six’s 18,000-square-foot outdoor space should allow for plenty of social distancing. That said, folks should come expecting a party—especially with legendary hype man Fran Boogie hosting and Bay Area icon DJ Shortkut behind the decks.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902133\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg\" alt=\"A Día de los Muertos family altar display featuring a skull wearing a face mask. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Día de los Muertos Festival will be a socially distanced event. \u003ccite>(The Unity Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Día de los Muertos Festival and Fruitvale Restaurant Week\u003c/h2>\n\u003cp>\u003ci>International Boulevard, from Fruitvale Ave. to 40th Ave., Oakland\u003cbr>\nOct. 24–Oct. 31, 2021\u003cbr>\n\u003ca href=\"https://diaoakland.com/?ltclid=77d11583-837a-4d21-90d6-8c9422880804\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Normally one of the busiest and most lively days of the year in Oakland’s heavily Mexican and Latin American Fruitvale district, this year’s Día de los Muertos Festival will mark a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">partial\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> return to the before-times celebration of this holiday honoring the dead. The jaw-droppingly athletic Aztec dancers, the sleek lowriders and the moving and intricately assembled ofrendas will all be back for this year’s festival, which takes place Oct. 31, says \u003c/span>\u003cspan style=\"font-weight: 400\">Itzel Diaz-Romo\u003c/span>\u003cspan style=\"font-weight: 400\">, the I\u003c/span>\u003cspan style=\"font-weight: 400\">nterim Director of Development & Communications for the \u003c/span>\u003cspan style=\"font-weight: 400\">Unity Council, which is organizing the event. The performances and displays will just be spread out throughout the district to prevent crowds from accumulating at any one place. COVID vaccines and testing will be available on site.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest difference, for food lovers, is that there won’t be any street vendors hawking tamales or pupusas this year. Instead, in an effort to support local restaurants, the week leading up to Día de los Muertos has been designated, as it was last year, as Fruitvale Restaurant Week. Details are still being finalized, but it’s likely that all participating restaurants will offer a $20 meal deal that includes a drink.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901765\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg\" alt=\"A collage of images from the 2020 Kimchi Cook-Off.\" width=\"2560\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-2048x977.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1920x916.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A collage of images from the 2020 Kimchi Cook-Off. \u003ccite>(Kimchi Cook-Off)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Korean Kimchi Festival and Cook-Off\u003c/h2>\n\u003cp>\u003ci>The Culinary Institute of America at Copia, Napa\u003cbr>\nNovember 7, 2021\u003cbr>\n\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For those looking for a more hands-on food event, a kimchi cook-off might be just the thing. Part of an international series sponsored by the Jongga kimchi company in partnership with prominent culinary schools, this year’s Bay Area edition will take place at the CIA at Copia in downtown Napa, pitting eight finalists against each other to cook their own original recipes that incorporate kimchi. Top finishers will take home cash prizes. Kimchi enthusiasts who think they’ve got the right stuff simply need to submit an \u003c/span>\u003ca href=\"https://www.facebook.com/events/207820298049424/?ref=newsfeed\">\u003cspan style=\"font-weight: 400\">audition video\u003c/span>\u003c/a> to apply\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Festival director HJ Park says the original plan was to allow up to 200 audience members—each of whom would take home a DIY kimchi goodie bag—but since it’s an indoor event, those plans are up in the air. Either way, the whole competition will be livestreamed via the event’s \u003c/span>\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\">\u003cspan style=\"font-weight: 400\">Facebook page\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrate Mid-Autumn Festival With Mooncakes and Paper Lanterns",
"headTitle": "Celebrate Mid-Autumn Festival With Mooncakes and Paper Lanterns | KQED",
"content": "\u003cp>To prepare for Eastlake Little Saigon’s big Mid-Autumn Festival celebration, the nonprofit Good Good Eatz and the Oakland Vietnamese Chamber of Commerce are distributing 2,000 colorful paper lanterns to four local schools so that the students can paint and decorate them. On Sept. 18, the lanterns will light up dozens of restaurants around Eastlake, acting as beacons to draw customers toward delicious pho and banh mi at neighborhood standards like Pho Vy, Pho Mekong and Cam Huong.\u003c/p>\n\u003cp>Continuing an \u003ca href=\"https://www.kqed.org/arts/13900641/pokemon-go-little-saigon-oakland-vietnamese-food\">ongoing cross-promotion with Pokémon Go developer Niantic\u003c/a>, many of the restaurants and markets will be designated as Pokéstops, where players of the augmented reality game can accrue power-ups. In further keeping with the Vietnamese emphasis of Mid-Autumn Festival as a children’s holiday—like Halloween for Americans, Good Good Eatz co-founder Trinh Banh explains—kids will be able to go around and collect miniature mooncakes and other goodies from many of the participating merchants.\u003c/p>\n\u003cp>This will be a masked event, and COVID vaccination and testing will be available at Clinton Park.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003ci>Eastlake Little Saigon’s Mid-Autumn Festival celebration will take place on Sept. 18, noon–5pm at Clinton Park in Oakland. \u003ca href=\"https://www.instagram.com/p/CTsCJRmJA9C/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To prepare for Eastlake Little Saigon’s big Mid-Autumn Festival celebration, the nonprofit Good Good Eatz and the Oakland Vietnamese Chamber of Commerce are distributing 2,000 colorful paper lanterns to four local schools so that the students can paint and decorate them. On Sept. 18, the lanterns will light up dozens of restaurants around Eastlake, acting as beacons to draw customers toward delicious pho and banh mi at neighborhood standards like Pho Vy, Pho Mekong and Cam Huong.\u003c/p>\n\u003cp>Continuing an \u003ca href=\"https://www.kqed.org/arts/13900641/pokemon-go-little-saigon-oakland-vietnamese-food\">ongoing cross-promotion with Pokémon Go developer Niantic\u003c/a>, many of the restaurants and markets will be designated as Pokéstops, where players of the augmented reality game can accrue power-ups. In further keeping with the Vietnamese emphasis of Mid-Autumn Festival as a children’s holiday—like Halloween for Americans, Good Good Eatz co-founder Trinh Banh explains—kids will be able to go around and collect miniature mooncakes and other goodies from many of the participating merchants.\u003c/p>\n\u003cp>This will be a masked event, and COVID vaccination and testing will be available at Clinton Park.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003ci>Eastlake Little Saigon’s Mid-Autumn Festival celebration will take place on Sept. 18, noon–5pm at Clinton Park in Oakland. \u003ca href=\"https://www.instagram.com/p/CTsCJRmJA9C/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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