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"title": "Janet Jackson to Play Outside Lands, Ending 10-Year Run of No Female Headliners",
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"content": "\u003cp>Year after year, fans and \u003ca href=\"https://www.sfgate.com/entertainment/article/Why-aren-t-there-any-female-music-festival-7512529.php\" target=\"_blank\" rel=\"noopener\">critics alike have asked\u003c/a> the organizers of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>: Where are the female headliners?\u003c/p>\n\u003cp>That question seemed to be answered today, with the festival’s \u003ca href=\"https://twitter.com/sfoutsidelands/status/979712370216927233\" rel=\"noopener\" target=\"_blank\">announcement on social media\u003c/a> that Janet Jackson will take the stage at this year’s Outside Lands, presumably in a headlining slot.\u003c/p>\n\u003cp>But booking Janet Jackson in 2018 is a case study in too little, too late: in the past 10 years, there have been no single female headliners at Outside Lands, an issue \u003ca href=\"http://noisepop.com/where-are-the-female-festival-headliners/\" rel=\"noopener\" target=\"_blank\">repeatedly raised in recent years by local music journalists\u003c/a>. (The full lineup announcement for this year’s fest, taking place Aug. 10-12 in Golden Gate Park, is coming April 3 at 10am.) \u003c/p>\n\u003cp>https://twitter.com/sfoutsidelands/status/979712370216927233\u003c/p>\n\u003cp>Allen Scott of Another Planet Entertainment, co-producers of Outside Lands, explained the lack of women headliners in a \u003ca href=\"https://consequenceofsound.net/2017/08/the-pride-of-san-francisco-outside-lands-turns-10/4/\" target=\"_blank\" rel=\"noopener\">2017 interview\u003c/a> with Consequence of Sound, promising that his staff had diligently pursued female headliners, but that the “stars just haven’t aligned yet.” But with Outside Lands’ ability to secure performances from in-demand male-fronted acts over the years — expensive acts like Radiohead, Kanye West, and Paul McCartney — it seems surprising that \u003cem>not a single woman\u003c/em> was available to take a top spot on the lineup over the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, with the ongoing #MeToo movement and a \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">jarring lack of female winners\u003c/a> at this year’s Grammy’s, pressure for more inclusive festival lineups has reached a fever pitch. Earlier this year, \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">45 international music festivals\u003c/a> pledged to have a 50/50 gender balance on their lineups by 2022. (Only two of the festivals that made the pledge are in the U.S.: A2IM Indie Week and NYC Winter Jazzfest.)\u003c/p>\n\u003cp>Janet Jackson might be the perfect person to usher in what will hopefully be a sea change at Outside Lands. After all, Jackson’s career \u003ca href=\"https://www.billboard.com/articles/news/super-bowl/8007041/janet-jackson-justin-timberlake-2004-super-bowl-what-happened\" target=\"_blank\" rel=\"noopener\">took a major hit\u003c/a> after the “wardrobe malfunction” during her performance with Justin Timberlake at the 2004 Super Bowl. Fans were outraged when Timberlake was invited to perform at the Super Bowl again this year, while Jackson \u003ca href=\"https://www.kqed.org/pop/20175\" rel=\"noopener\" target=\"_blank\">never recovered from the incident\u003c/a>.\u003c/p>\n\u003cp>No doubt her Outside Lands performance will help restore her cultural legacy — and hopefully catalyze a new, more inclusive chapter for the festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Year after year, fans and \u003ca href=\"https://www.sfgate.com/entertainment/article/Why-aren-t-there-any-female-music-festival-7512529.php\" target=\"_blank\" rel=\"noopener\">critics alike have asked\u003c/a> the organizers of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>: Where are the female headliners?\u003c/p>\n\u003cp>That question seemed to be answered today, with the festival’s \u003ca href=\"https://twitter.com/sfoutsidelands/status/979712370216927233\" rel=\"noopener\" target=\"_blank\">announcement on social media\u003c/a> that Janet Jackson will take the stage at this year’s Outside Lands, presumably in a headlining slot.\u003c/p>\n\u003cp>But booking Janet Jackson in 2018 is a case study in too little, too late: in the past 10 years, there have been no single female headliners at Outside Lands, an issue \u003ca href=\"http://noisepop.com/where-are-the-female-festival-headliners/\" rel=\"noopener\" target=\"_blank\">repeatedly raised in recent years by local music journalists\u003c/a>. (The full lineup announcement for this year’s fest, taking place Aug. 10-12 in Golden Gate Park, is coming April 3 at 10am.) \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Allen Scott of Another Planet Entertainment, co-producers of Outside Lands, explained the lack of women headliners in a \u003ca href=\"https://consequenceofsound.net/2017/08/the-pride-of-san-francisco-outside-lands-turns-10/4/\" target=\"_blank\" rel=\"noopener\">2017 interview\u003c/a> with Consequence of Sound, promising that his staff had diligently pursued female headliners, but that the “stars just haven’t aligned yet.” But with Outside Lands’ ability to secure performances from in-demand male-fronted acts over the years — expensive acts like Radiohead, Kanye West, and Paul McCartney — it seems surprising that \u003cem>not a single woman\u003c/em> was available to take a top spot on the lineup over the past decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, with the ongoing #MeToo movement and a \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">jarring lack of female winners\u003c/a> at this year’s Grammy’s, pressure for more inclusive festival lineups has reached a fever pitch. Earlier this year, \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">45 international music festivals\u003c/a> pledged to have a 50/50 gender balance on their lineups by 2022. (Only two of the festivals that made the pledge are in the U.S.: A2IM Indie Week and NYC Winter Jazzfest.)\u003c/p>\n\u003cp>Janet Jackson might be the perfect person to usher in what will hopefully be a sea change at Outside Lands. After all, Jackson’s career \u003ca href=\"https://www.billboard.com/articles/news/super-bowl/8007041/janet-jackson-justin-timberlake-2004-super-bowl-what-happened\" target=\"_blank\" rel=\"noopener\">took a major hit\u003c/a> after the “wardrobe malfunction” during her performance with Justin Timberlake at the 2004 Super Bowl. Fans were outraged when Timberlake was invited to perform at the Super Bowl again this year, while Jackson \u003ca href=\"https://www.kqed.org/pop/20175\" rel=\"noopener\" target=\"_blank\">never recovered from the incident\u003c/a>.\u003c/p>\n\u003cp>No doubt her Outside Lands performance will help restore her cultural legacy — and hopefully catalyze a new, more inclusive chapter for the festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n\u003c/div>\u003c/p>",
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"title": "On Outside Lands, Charlottesville, and Conspicuous Silence",
"headTitle": "On Outside Lands, Charlottesville, and Conspicuous Silence | KQED",
"content": "\u003cp>During her Sunday night set at Outside Lands, Solange paused to acknowledge the violence of the previous day in Charlottesville at the hands of white nationalists. “Stay up. Find your self-care, find your joy,” she implored the audience, specifically shouting out her black, LGBTQ, and Muslim fans.\u003c/p>\n\u003cp>“Hey! What about the white people?” screamed a young, white man behind me.\u003c/p>\n\u003cp>Solange’s remarks were clearly meant to uplift those whose civil rights were threatened by the marchers in Charlottesville — a threat that didn’t apply to him. But when I turned around to explain, he retorted, “So you think I’m a white supremacist just because I’m white?”\u003c/p>\n\u003cfigure id=\"attachment_13805430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805430\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg\" alt=\"Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park. \u003ccite>(via saintheron/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the interaction confirmed anything, it was that there’s a clear disconnect between Outside Lands’ mostly white attendees and the nation’s state of affairs — one that was felt through most of this year’s festival.\u003c/p>\n\u003cp>Saturday’s bloody protests, resulting in the death of \u003ca href=\"https://www.nytimes.com/2017/08/13/us/heather-heyer-charlottesville-victim.html\" target=\"_blank\" rel=\"noopener noreferrer\">anti-racist activist Heather Heyer\u003c/a>, dominated news feeds over Outside Lands weekend. In his initial response, President Trump avoided calling out white nationalists, instead condemning hatred and bigotry “on many sides” and \u003ca href=\"http://www.cnn.com/2017/08/12/politics/trump-fails-to-condemn-the-alt-right-white-supremacists/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to answer reporters\u003c/a> who asked if he wanted white nationalists’ support. On social media, white supremacists, neo-Nazis and former KKK leader \u003ca href=\"https://twitter.com/NBCNews/status/896587138694660096\" target=\"_blank\" rel=\"noopener noreferrer\">David Duke\u003c/a> celebrated that \u003ca href=\"https://twitter.com/soledadobrien/status/896492127911149568\" target=\"_blank\" rel=\"noopener noreferrer\">the president didn’t specifically implicate their movements\u003c/a>. (It’s wasn’t until two days later, after public pressure, that Trump named the KKK, neo-Nazis, and white supremacists, calling their racism “evil” in \u003ca href=\"https://www.nytimes.com/2017/08/14/us/politics/transcript-and-video-president-trump-speaks-about-charlottesville.html\" target=\"_blank\" rel=\"noopener noreferrer\">a White House speech\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13805382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg\" alt=\"Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, at Outside Lands, there was scant acknowledgement of Charlottesville that I saw, apart from comments by Solange, Cage the Elephant, Young the Giant, and a few others. On Friday, before the violent clash took place, Noname and Henry Rollins had spoken against the Trump administration in explicit terms. But on Saturday and Sunday, after a car plowed into a group of people — killing Heyer, and injuring 19 others — the majority of the artists’ silence was deafening. A few bands, including Metallica, Dawes, and Bomba Estéreo, offered vague feel-good sentiments about the power of music to bring people together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”YEUyDXSqgG7gHFwlOmR2v9hxGODZKvcI”]\u003c/p>\n\u003cp>An artists’ impulse to avoid bad news during their performances is understandable. But it’s also possible to put on an entertaining show while taking the time to acknowledge a national trauma. Much like the president’s initial refusal to call white supremacy by name, an artist failing to identify a source of discomfort while offering hollow pleas to “come together” can’t possibly provide the specific healing they claim to want. In that moment, their performance becomes casual diversion.\u003c/p>\n\u003cp>Because of this, artists’ and attendees’ silence made Outside Lands feel like an island, isolated from the news by privilege, rather than what a mass of thousands of people in Golden Gate Park \u003ca href=\"https://apimagesblog.com/blog/2017/3/22/san-franciscos-decades-long-history-of-protest\" target=\"_blank\" rel=\"noopener noreferrer\">has been, historically, during national crises\u003c/a>: a community united against violence and hate.\u003c/p>\n\u003cfigure id=\"attachment_13805397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805397\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg\" alt='Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to \"do better\" after violence erupted in Charlotesville, VA, killing one and injuring many more.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to “do better” after violence erupted in Charlotesville, VA, killing one and injuring many more. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the carefree folks enjoying themselves at the festival, the violence in Charlottesville might have seemed like a world away. But it’s not. As \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/californian-who-helped-organize-charlottesville-protests-used-berkeley-as-a-test-run/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s John Sepulvado reports\u003c/a>, the man credited with organizing the Charlottesville rally, Nathan Damigo, is a San Jose-raised California resident who brought his group Identity Evropa for a bloody protest to UC Berkeley in April. Another of the Charlottesville protestors was identified as Cole White, \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/berkeleys-top-dog-fires-employee-who-went-to-white-nationalist-rally-in-charlottesville/\" target=\"_blank\" rel=\"noopener noreferrer\">now-former employee\u003c/a> of Top Dog, a popular eatery in liberal Berkeley. And according to \u003cem>Mother Jones\u003c/em> reporter Shane Bauer, a future white supremacist rally is \u003ca href=\"https://twitter.com/shane_bauer/status/896446989629497344\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled in Berkeley\u003c/a> for Aug. 27.\u003c/p>\n\u003cp>We like to think we’re in a progressive bubble in the Bay Area. We take for granted that a huge gathering like Outside Lands implies, by dint of its location, tolerance and acceptance. The man behind me during Solange’s set Sunday proved otherwise: namely, that white people who go to music festivals — and I say this as a white person, who goes to music festivals — have some stepping up to do.\u003c/p>\n\u003cp>As Lorde \u003ca href=\"https://twitter.com/lorde/status/896528771636903936\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> minutes before her Sunday evening Outside Lands performance, “All white people are responsible for this system’s thrive and fall. We have to do better.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/p>\n\u003cp>\u003cem>See more of KQED’s Outside Lands coverage \u003ca href=\"https://ww2.kqed.org/arts/tag/outside-lands/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite deadly violence and white nationalism dominating the news, most artists at Outside Lands kept quiet — and out in the crowd, the disconnect was unsettling.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During her Sunday night set at Outside Lands, Solange paused to acknowledge the violence of the previous day in Charlottesville at the hands of white nationalists. “Stay up. Find your self-care, find your joy,” she implored the audience, specifically shouting out her black, LGBTQ, and Muslim fans.\u003c/p>\n\u003cp>“Hey! What about the white people?” screamed a young, white man behind me.\u003c/p>\n\u003cp>Solange’s remarks were clearly meant to uplift those whose civil rights were threatened by the marchers in Charlottesville — a threat that didn’t apply to him. But when I turned around to explain, he retorted, “So you think I’m a white supremacist just because I’m white?”\u003c/p>\n\u003cfigure id=\"attachment_13805430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805430\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg\" alt=\"Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park. \u003ccite>(via saintheron/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the interaction confirmed anything, it was that there’s a clear disconnect between Outside Lands’ mostly white attendees and the nation’s state of affairs — one that was felt through most of this year’s festival.\u003c/p>\n\u003cp>Saturday’s bloody protests, resulting in the death of \u003ca href=\"https://www.nytimes.com/2017/08/13/us/heather-heyer-charlottesville-victim.html\" target=\"_blank\" rel=\"noopener noreferrer\">anti-racist activist Heather Heyer\u003c/a>, dominated news feeds over Outside Lands weekend. In his initial response, President Trump avoided calling out white nationalists, instead condemning hatred and bigotry “on many sides” and \u003ca href=\"http://www.cnn.com/2017/08/12/politics/trump-fails-to-condemn-the-alt-right-white-supremacists/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to answer reporters\u003c/a> who asked if he wanted white nationalists’ support. On social media, white supremacists, neo-Nazis and former KKK leader \u003ca href=\"https://twitter.com/NBCNews/status/896587138694660096\" target=\"_blank\" rel=\"noopener noreferrer\">David Duke\u003c/a> celebrated that \u003ca href=\"https://twitter.com/soledadobrien/status/896492127911149568\" target=\"_blank\" rel=\"noopener noreferrer\">the president didn’t specifically implicate their movements\u003c/a>. (It’s wasn’t until two days later, after public pressure, that Trump named the KKK, neo-Nazis, and white supremacists, calling their racism “evil” in \u003ca href=\"https://www.nytimes.com/2017/08/14/us/politics/transcript-and-video-president-trump-speaks-about-charlottesville.html\" target=\"_blank\" rel=\"noopener noreferrer\">a White House speech\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13805382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg\" alt=\"Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, at Outside Lands, there was scant acknowledgement of Charlottesville that I saw, apart from comments by Solange, Cage the Elephant, Young the Giant, and a few others. On Friday, before the violent clash took place, Noname and Henry Rollins had spoken against the Trump administration in explicit terms. But on Saturday and Sunday, after a car plowed into a group of people — killing Heyer, and injuring 19 others — the majority of the artists’ silence was deafening. A few bands, including Metallica, Dawes, and Bomba Estéreo, offered vague feel-good sentiments about the power of music to bring people together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>An artists’ impulse to avoid bad news during their performances is understandable. But it’s also possible to put on an entertaining show while taking the time to acknowledge a national trauma. Much like the president’s initial refusal to call white supremacy by name, an artist failing to identify a source of discomfort while offering hollow pleas to “come together” can’t possibly provide the specific healing they claim to want. In that moment, their performance becomes casual diversion.\u003c/p>\n\u003cp>Because of this, artists’ and attendees’ silence made Outside Lands feel like an island, isolated from the news by privilege, rather than what a mass of thousands of people in Golden Gate Park \u003ca href=\"https://apimagesblog.com/blog/2017/3/22/san-franciscos-decades-long-history-of-protest\" target=\"_blank\" rel=\"noopener noreferrer\">has been, historically, during national crises\u003c/a>: a community united against violence and hate.\u003c/p>\n\u003cfigure id=\"attachment_13805397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805397\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg\" alt='Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to \"do better\" after violence erupted in Charlotesville, VA, killing one and injuring many more.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to “do better” after violence erupted in Charlotesville, VA, killing one and injuring many more. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the carefree folks enjoying themselves at the festival, the violence in Charlottesville might have seemed like a world away. But it’s not. As \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/californian-who-helped-organize-charlottesville-protests-used-berkeley-as-a-test-run/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s John Sepulvado reports\u003c/a>, the man credited with organizing the Charlottesville rally, Nathan Damigo, is a San Jose-raised California resident who brought his group Identity Evropa for a bloody protest to UC Berkeley in April. Another of the Charlottesville protestors was identified as Cole White, \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/berkeleys-top-dog-fires-employee-who-went-to-white-nationalist-rally-in-charlottesville/\" target=\"_blank\" rel=\"noopener noreferrer\">now-former employee\u003c/a> of Top Dog, a popular eatery in liberal Berkeley. And according to \u003cem>Mother Jones\u003c/em> reporter Shane Bauer, a future white supremacist rally is \u003ca href=\"https://twitter.com/shane_bauer/status/896446989629497344\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled in Berkeley\u003c/a> for Aug. 27.\u003c/p>\n\u003cp>We like to think we’re in a progressive bubble in the Bay Area. We take for granted that a huge gathering like Outside Lands implies, by dint of its location, tolerance and acceptance. The man behind me during Solange’s set Sunday proved otherwise: namely, that white people who go to music festivals — and I say this as a white person, who goes to music festivals — have some stepping up to do.\u003c/p>\n\u003cp>As Lorde \u003ca href=\"https://twitter.com/lorde/status/896528771636903936\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> minutes before her Sunday evening Outside Lands performance, “All white people are responsible for this system’s thrive and fall. We have to do better.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/p>\n\u003cp>\u003cem>See more of KQED’s Outside Lands coverage \u003ca href=\"https://ww2.kqed.org/arts/tag/outside-lands/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the violence in Charlottesville dominated Twitter-checking attendees’ news feeds, Sunday at Outside Lands came with a sense of disconnect. At the same time, it also came with some of the weekend’s best performances, including Solange, Lorde, Young the Giant, Bleachers, The Who and more.\u003c/p>\n\u003cp>See a full photo slideshow from Sunday’s festivities below, and \u003ca href=\"https://ww2.kqed.org/arts/tag/outside-lands/\" target=\"_blank\" rel=\"noopener\">see here for more photos and coverage\u003c/a> from the entire weekend.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805410,13805409,13805408,13805407,13805406,13805405,13805400,13805401,13805402,13805403,13805404,13805399,13805398,13805397,13805396,13805395,13805390,13805391,13805392,13805393,13805394,13805389,13805388,13805387,13805386,13805385,13805380,13805381,13805382,13805383,13805384,13805379,13805378,13805377,13805376,13805375,13805369,13805370,13805371,13805372,13805373,13805368,13805363,13805362,13805367,13805366,13805361,13805360,13805365,13805364,13805359,13805357,13805356,13805355,13805353,13805352,13805348,13805349,13805350,13805351\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Outside Lands 2017: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2017: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>The second day of Outside Lands was even more eclectic — and hectic — than the first, as the musical lineup brought out interesting cross-sections of Bay Area subcultures. Metalheads partied with ravers in unicorn onesies; college students and first-time festival-goers could both be spotted having sensory overload.\u003c/p>\n\u003cp>Although the \u003ca href=\"https://www.washingtonpost.com/local/fights-in-advance-of-saturday-protest-in-charlottesville/2017/08/12/155fb636-7f13-11e7-83c7-5bd5460f0d7e_story.html?utm_term=.a2b98a9fc2e6\" target=\"_blank\" rel=\"noopener\">tragic news from the Charlottesville protests\u003c/a> was fresh in revelers’ minds, Saturday’s performers were much less bold with their commentary than artists like Noname and Henry Rollins had been on Friday. Instead of specifically calling out white supremacists, or mentioning Donald Trump by name, some bands called for unity through music while many said nothing at all. The lack of overt acknowledgement might have felt disappointing for those checking the news throughout the day, but if anything, the festival offered a momentary escape from turmoil.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805324,13805323,13805322,13805321,13805317,13805318,13805319,13805320,13805316,13805315,13805314,13805313,13805309,13805310,13805311,13805312,13805308,13805307,13805306,13805305,13805301,13805302,13805303,13805304,13805300,13805299,13805298,13805297,13805293,13805294,13805295,13805296,13805292,13805291,13805290,13805289,13805284,13805285,13805286,13805287,13805283,13805282,13805281,13805280,13805276,13805277,13805278,13805279\" orderby=\"rand\"]\u003c/p>\n\u003cp>Check out our highlights from Saturday at Outside Lands below, and see coverage from Friday \u003ca href=\"https://ww2.kqed.org/arts/2017/08/12/outside-lands-2017-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg\" alt=\"Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>S U R V I V E\u003c/h2>\n\u003cp>S U R V I V E’s Saturday afternoon set was gear-nerd heaven. The four members of the Austin synthwave quartet stood side-by-side behind forward-facing desks as each musician plugged away at his respective vintage synthesizer. Each looked so lost in what they were doing that they didn’t pay each other — or the audience — much notice. But while they barely communicated, their timing and coordination were impeccable, with pounding electronic instrumentals sounding straight out of an ’80s sci-fi film — calling to mind \u003cem>Blade Runner\u003c/em> and \u003cem>Tron\u003c/em>. (It’s no wonder that S U R V I V E’s Michael Stein and Kyle Dixon composed and performed the \u003ca href=\"https://www.youtube.com/watch?v=5fkN73uEMYw&list=PLHM5aY6TFqReJYC-C_TZ4ftbcs-lYkZEh\" target=\"_blank\" rel=\"noopener\">soundtrack for \u003cem>Stranger Things\u003c/em>\u003c/a>.) As the band’s set progressed, the bass became physically palpable as their synths swelled to epic crescendos. Instead of dancing, the audience stood transfixed, watching the enigmatic musicians in awe.\u003c/p>\n\u003cfigure id=\"attachment_13805280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kaytranada\u003c/h2>\n\u003cp>While Canadian producer Kaytranada unassumingly bobbed his head behind his laptop, his house-inflected beats sent his audience into an ecstatic frenzy. People crowd-surfed, high-fived strangers, and enthusiastically cheered on each other’s dance moves. A group of 20 or so college bro types joined together in a giant group hug that culminated with one guy trust-falling off his friend’s shoulders into the audience. It’s these kinds of communal exchanges of energy that make trudging through crowds at festivals worth it. Kaytranada played standout tracks from his acclaimed 2016 album, \u003cem>99.9%\u003c/em>, as well as original remixes and instrumentals. His club version of Solange’s “Cranes in the Sky” offered a momentary emotional release (and whetted the audience’s palate for Solange’s Sunday performance). Pulsing, four-on-the-floor beats like “You’re the One” featuring SYD turned the party up yet another notch. Kaytranada’s set was also a rare opportunity to hear the deep-house instrumentals that made his Boiler Room set one of the \u003ca href=\"https://www.youtube.com/watch?v=-5EQIiabJvk\" target=\"_blank\" rel=\"noopener\">most-viewed of all time on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avett Brothers\u003c/h2>\n\u003cp>The Avett Brothers sure can shred. The North Carolinian seven-piece, led by brothers Scott and Seth Avett, delivered an electrifying performance of country, bluegrass, indie folk, and Southern rock, expanding their twangy melodies into full-out jam sessions. With banjo, guitar, organ, and a full string section, the brothers evolved “Ain’t No Man,” a vigorous stomp with lyrics about independence and self-determination, into a blitz of jovial instrumentation in the vein of Creedence Clearwater Revival and Janis Joplin. During a couple climactic points in the show, Scott Avett sang so fast that his vocals morphed into country-style rapping — an unexpected twist that was met with plenty of cheers. The brothers also nailed \u003ca href=\"https://youtu.be/N5suDkY4kzY\" target=\"_blank\" rel=\"noopener\">a cover of Soundgarden’s “Black Hole Sun”\u003c/a> (“We’re gonna do one by some heroes of ours,” Scott Avett said, in a nod to the \u003ca href=\"http://www.rollingstone.com/music/news/soundgardens-chris-cornell-dead-at-52-w482882\" target=\"_blank\" rel=\"noopener\">recently departed Chris Cornell\u003c/a>) before closing the night with their ballad “No Hard Feelings.”\u003c/p>\n\u003cfigure id=\"attachment_13805303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>Given the disheartening news from Charlottesville, it was refreshing to hear James Hetfield, the lead singer of Metallica, pointedly declare his gratitude to see “all different styles of music and all kinds of people” at Outside Lands. “We’re here to celebrate life,” he growled into the mic before launching into a two-hour headlining set complete with pyrotechnics, fireworks, and an incredible light show. With 30-plus years in the game, Metallica are masters of entertainment. Hetfield’s onstage demeanor was friendly and effusive — though still tough — and he undoubtedly converted plenty of casual listeners into enthusiastic fans. At one point, he even shouted out two blue- and green-haired elementary schoolers in the front row with their proud metalhead dad. During “Master of Puppets,” red laser beams emanated from the stage, enveloping the audience in a psychedelic grid that changed shape in time with Kirk Hammett’s explosive guitar solo. Sadly, there was no surprise Lady Gaga appearance as rumored for “Moth in the Flame,” which she \u003ca href=\"https://www.youtube.com/watch?v=pdxyVnJMg64\" target=\"_blank\" rel=\"noopener\">performed with the band\u003c/a> at this year’s Grammys. But the ending of Metallica’s set was unforgettable nonetheless, with fireworks and an extended, fiery rendition of “Enter Sandman” that had everyone screaming for an encore.\u003c/p>\n\u003cfigure id=\"attachment_13805282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bomba Estéreo\u003c/h2>\n\u003cp>Li Saumet, vocalist of Colombian band Bomba Estéreo, shook her neon-orange mane as she danced across the stage in a trailing pink cape. Her colorful look was the personification of Bomba Estéreo’s high-energy set: A fusion of electro-pop, Cumbia, and moombahton that basically sounds like what would happen if The Knife partied in Miami with Pitbull for a weekend. Bomba Estéreo preaches a message of peace and unity through music; the audience pulsated along to “Internacionales,” a track about dance as an international language, as Saumet instructed \u003cem>Baila! Baila!\u003c/em> in Spanish. “It doesn’t matter if you don’t speak Spanish, you can feel it,” she announced to the eager crowd. The audience and band’s enthusiasm created a positive feedback loop that lasted through the duration of the set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n",
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"excerpt": "Saturday's highlights at Outside Lands included Metallica, Kaytranada, the Avett Brothers, Bomba Estéreo and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second day of Outside Lands was even more eclectic — and hectic — than the first, as the musical lineup brought out interesting cross-sections of Bay Area subcultures. Metalheads partied with ravers in unicorn onesies; college students and first-time festival-goers could both be spotted having sensory overload.\u003c/p>\n\u003cp>Although the \u003ca href=\"https://www.washingtonpost.com/local/fights-in-advance-of-saturday-protest-in-charlottesville/2017/08/12/155fb636-7f13-11e7-83c7-5bd5460f0d7e_story.html?utm_term=.a2b98a9fc2e6\" target=\"_blank\" rel=\"noopener\">tragic news from the Charlottesville protests\u003c/a> was fresh in revelers’ minds, Saturday’s performers were much less bold with their commentary than artists like Noname and Henry Rollins had been on Friday. Instead of specifically calling out white supremacists, or mentioning Donald Trump by name, some bands called for unity through music while many said nothing at all. The lack of overt acknowledgement might have felt disappointing for those checking the news throughout the day, but if anything, the festival offered a momentary escape from turmoil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out our highlights from Saturday at Outside Lands below, and see coverage from Friday \u003ca href=\"https://ww2.kqed.org/arts/2017/08/12/outside-lands-2017-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg\" alt=\"Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>S U R V I V E\u003c/h2>\n\u003cp>S U R V I V E’s Saturday afternoon set was gear-nerd heaven. The four members of the Austin synthwave quartet stood side-by-side behind forward-facing desks as each musician plugged away at his respective vintage synthesizer. Each looked so lost in what they were doing that they didn’t pay each other — or the audience — much notice. But while they barely communicated, their timing and coordination were impeccable, with pounding electronic instrumentals sounding straight out of an ’80s sci-fi film — calling to mind \u003cem>Blade Runner\u003c/em> and \u003cem>Tron\u003c/em>. (It’s no wonder that S U R V I V E’s Michael Stein and Kyle Dixon composed and performed the \u003ca href=\"https://www.youtube.com/watch?v=5fkN73uEMYw&list=PLHM5aY6TFqReJYC-C_TZ4ftbcs-lYkZEh\" target=\"_blank\" rel=\"noopener\">soundtrack for \u003cem>Stranger Things\u003c/em>\u003c/a>.) As the band’s set progressed, the bass became physically palpable as their synths swelled to epic crescendos. Instead of dancing, the audience stood transfixed, watching the enigmatic musicians in awe.\u003c/p>\n\u003cfigure id=\"attachment_13805280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kaytranada\u003c/h2>\n\u003cp>While Canadian producer Kaytranada unassumingly bobbed his head behind his laptop, his house-inflected beats sent his audience into an ecstatic frenzy. People crowd-surfed, high-fived strangers, and enthusiastically cheered on each other’s dance moves. A group of 20 or so college bro types joined together in a giant group hug that culminated with one guy trust-falling off his friend’s shoulders into the audience. It’s these kinds of communal exchanges of energy that make trudging through crowds at festivals worth it. Kaytranada played standout tracks from his acclaimed 2016 album, \u003cem>99.9%\u003c/em>, as well as original remixes and instrumentals. His club version of Solange’s “Cranes in the Sky” offered a momentary emotional release (and whetted the audience’s palate for Solange’s Sunday performance). Pulsing, four-on-the-floor beats like “You’re the One” featuring SYD turned the party up yet another notch. Kaytranada’s set was also a rare opportunity to hear the deep-house instrumentals that made his Boiler Room set one of the \u003ca href=\"https://www.youtube.com/watch?v=-5EQIiabJvk\" target=\"_blank\" rel=\"noopener\">most-viewed of all time on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avett Brothers\u003c/h2>\n\u003cp>The Avett Brothers sure can shred. The North Carolinian seven-piece, led by brothers Scott and Seth Avett, delivered an electrifying performance of country, bluegrass, indie folk, and Southern rock, expanding their twangy melodies into full-out jam sessions. With banjo, guitar, organ, and a full string section, the brothers evolved “Ain’t No Man,” a vigorous stomp with lyrics about independence and self-determination, into a blitz of jovial instrumentation in the vein of Creedence Clearwater Revival and Janis Joplin. During a couple climactic points in the show, Scott Avett sang so fast that his vocals morphed into country-style rapping — an unexpected twist that was met with plenty of cheers. The brothers also nailed \u003ca href=\"https://youtu.be/N5suDkY4kzY\" target=\"_blank\" rel=\"noopener\">a cover of Soundgarden’s “Black Hole Sun”\u003c/a> (“We’re gonna do one by some heroes of ours,” Scott Avett said, in a nod to the \u003ca href=\"http://www.rollingstone.com/music/news/soundgardens-chris-cornell-dead-at-52-w482882\" target=\"_blank\" rel=\"noopener\">recently departed Chris Cornell\u003c/a>) before closing the night with their ballad “No Hard Feelings.”\u003c/p>\n\u003cfigure id=\"attachment_13805303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>Given the disheartening news from Charlottesville, it was refreshing to hear James Hetfield, the lead singer of Metallica, pointedly declare his gratitude to see “all different styles of music and all kinds of people” at Outside Lands. “We’re here to celebrate life,” he growled into the mic before launching into a two-hour headlining set complete with pyrotechnics, fireworks, and an incredible light show. With 30-plus years in the game, Metallica are masters of entertainment. Hetfield’s onstage demeanor was friendly and effusive — though still tough — and he undoubtedly converted plenty of casual listeners into enthusiastic fans. At one point, he even shouted out two blue- and green-haired elementary schoolers in the front row with their proud metalhead dad. During “Master of Puppets,” red laser beams emanated from the stage, enveloping the audience in a psychedelic grid that changed shape in time with Kirk Hammett’s explosive guitar solo. Sadly, there was no surprise Lady Gaga appearance as rumored for “Moth in the Flame,” which she \u003ca href=\"https://www.youtube.com/watch?v=pdxyVnJMg64\" target=\"_blank\" rel=\"noopener\">performed with the band\u003c/a> at this year’s Grammys. But the ending of Metallica’s set was unforgettable nonetheless, with fireworks and an extended, fiery rendition of “Enter Sandman” that had everyone screaming for an encore.\u003c/p>\n\u003cfigure id=\"attachment_13805282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bomba Estéreo\u003c/h2>\n\u003cp>Li Saumet, vocalist of Colombian band Bomba Estéreo, shook her neon-orange mane as she danced across the stage in a trailing pink cape. Her colorful look was the personification of Bomba Estéreo’s high-energy set: A fusion of electro-pop, Cumbia, and moombahton that basically sounds like what would happen if The Knife partied in Miami with Pitbull for a weekend. Bomba Estéreo preaches a message of peace and unity through music; the audience pulsated along to “Internacionales,” a track about dance as an international language, as Saumet instructed \u003cem>Baila! Baila!\u003c/em> in Spanish. “It doesn’t matter if you don’t speak Spanish, you can feel it,” she announced to the eager crowd. The audience and band’s enthusiasm created a positive feedback loop that lasted through the duration of the set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>On Friday afternoon, the masses descended upon Golden Gate Park for the annual, three-day marathon of music, comedy, food and mayhem that is Outside Lands. And if the first day was any indication, a little more magic is in the air than usual: After all, this year is \u003ca href=\"https://ww2.kqed.org/arts/2017/08/10/10-years-of-outside-lands-a-look-back-in-pictures/\" target=\"_blank\" rel=\"noopener\">the festival’s 10th anniversary\u003c/a>. The lineup is more star-studded and diverse than ever. And we’re keeping our eyes peeled for surprise guests and \u003ca href=\"https://twitter.com/sirpatstew/status/498589583509311488?lang=en\" target=\"_blank\" rel=\"noopener\">celebrity sightings\u003c/a>.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805266,13805265,13805264,13805263,13805259,13805260,13805261,13805262,13805257,13805256,13805255,13805254,13805250,13805251,13805252,13805253,13805249,13805248,13805247,13805246,13805242,13805243,13805244,13805245,13805241,13805240,13805239,13805238,13805234,13805235,13805236,13805237,13805233,13805232,13805231,13805230,13805226,13805227,13805228,13805229,13805225,13805224,13805223,13805222,13805218,13805219,13805220,13805221,13805214,13805215,13805216,13805217,13805213,13805212,13805211,13805210,13805206,13805207,13805208,13805209,13805205\" orderby=\"rand\"]\u003c/p>\n\u003cp>Check out our highlights from the first day of the festival and stay tuned for live updates on Instagram throughout the weekend.\u003c/p>\n\u003cfigure id=\"attachment_13805220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4308.jpg\" alt=\"Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kali Uchis\u003c/h3>\n\u003cp>Kali Uchis hails from Virginia by way of Colombia, has proven herself to be an artist with vision since her 2013 debut, \u003cem>Drunken Babble\u003c/em>. Her soul-tinged pop, though audibly contemporary, is a direct descendent of lowrider oldies from the ’60s and ’70s. And her pastel-hued wardrobe and music videos complement her vintage sound to a T. Uchis brought all of these elements to life on stage on Friday night at Outside Lands following her sold-out show at the Rickshaw Stop the previous evening. Dressed in all white, she delivered gorgeous vocals in her signature pout, swaying, twirling, and shaking her hips for the audience like the late, great Selena. Tracks from her last project, like “Ridin’ Round,” were audience favorites, but her cover of Elvis Crespo’s “Suavemente” turned into an all-out, Santana-style jam session with a raging dance party to match.\u003c/p>\n\u003cfigure id=\"attachment_13805221\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4328.jpg\" alt=\"Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Henry Rollins\u003c/h3>\n\u003cp>Henry Rollins, the former frontman of legendary ’80s punk band Black Flag, has never had trouble staying in the public eye. After Black Flag disbanded in 1986, he continued a successful solo career with Rollins Band. And in recent years, he’s gained a reputation as an outspoken, progressive media personality with his regular op-eds in the \u003cem>LA Weekly\u003c/em>. Rollins brought his impassioned political viewpoints to the stage at \u003ca href=\"http://lineup.sfoutsidelands.com/?sort=thebarbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, Outside Lands’ comedy tent. In contrast to the hypersensitive stereotype of the liberal “snowflake,” he laid out his progressive politics with plenty of irreverent — and sometimes raunchy — humor. He took jabs at the Trump administration and called out fellow rock legend Ted Nugent for his racism and homophobia. But Rollins remained uproariously self-deprecating throughout, describing in detail how he bombed his comedy show the night of the 2016 election and sharing hilariously humbling experiences from his activist endeavors rather than painting himself as a savior.\u003c/p>\n\u003cfigure id=\"attachment_13805230\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4474.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Noname\u003c/h3>\n\u003cp>Rising Chicago star Noname exuded effortless cool at Outside Lands on Friday night as she strutted across the stage in her denim jacket and halo of curls. The rapper, born Fatimah Warner, got her start competing in poetry slams before acquiring a cult following with her 2016 musical debut, \u003cem>Telefone\u003c/em>. On the mixtape, her rap style is conversational and casual; on stage at Outside Lands, she revved up her motormouth flows and gave her set her all. Tracks like “Yesterday” and “Shadow Man,” both crowd favorites during her performance, were evocative streams of consciousness that prove Noname is a thoughtful — and sometimes pretty funny — observer of the human condition. She has a habit of being plainspoken yet profound: “Casket Pretty,” which she also performed, is a track about losing too many friends to Chicago’s gun violence epidemic. Although Noname admitted that the crowd of mostly white faces made her nervous as she performed the loaded song, the audience gave her reassurance to forge on.\u003c/p>\n\u003cfigure id=\"attachment_10223204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future-Islands-014-e1418851989347.jpg\" alt=\"\" width=\"800\" height=\"480\" class=\"size-full wp-image-10223204\">\u003cfigcaption class=\"wp-caption-text\">Future Islands\u003c/figcaption>\u003c/figure>\n\u003ch3>Future Islands\u003c/h3>\n\u003cp>Baltimore indie rock band Future Islands will probably always be associated with their 2014 performance on \u003cem>The Late Show\u003c/em>, where they managed, in a rare feat, to \u003ca href=\"https://www.youtube.com/watch?v=GK4lD3Uf8_o\" target=\"_blank\" rel=\"noopener\">leave David Letterman astounded.\u003c/a>. Indeed, singer Samuel T. Herring’s emotional delivery is incredibly cathartic; Friday night, he danced, writhed, and clenched his fists as he sang the band’s best-known songs, “Seasons (Waiting On You)” and “Ran,” throwing his entire body into his passionate performance. The band’s driving percussion, punchy bass lines, and melodious synths counterbalanced Herring’s display of raw feeling with the structure of ’80s new wave. Future Islands have one of the most distinct styles out there. And it turns out they’re incredibly fun to dance to, especially if you have a heartbreak you need to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13805257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4872.jpg\" alt=\"The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gorillaz\u003c/h3>\n\u003cp>A cartoon band was the perfect way for Damon Albarn, the lead singer of ’90s rock band Blur, to reinvent himself at the start of the new millennium. Gorillaz’ fictional personas gave Albarn the freedom to collaborate with a wide range of musicians, creating a fusion of pop, hip-hop, rock, and even disco and trip-hop that was well ahead of its time. (Calvin Harris, for instance, is currently toping charts with a similarly eclectic, danceable mix of genres.) Gorillaz, whose new album \u003cem>Humanz\u003c/em> came out in April, are now well past the gimmick of a virtual band. During their nearly two-hour headlining set, Albarn rocked out on stage to classics like “Feel Good Inc” and “Clint Eastwood.” But there were also plenty of surprises: Little Dragon, Pusha T, Kali Uchis, Del the Funky Homosapien, and even British rapper Little Simz joined Gorillaz on stage at various points of the evening. Albarn commanded the stage like the spectacle’s ringleader, closing Outside Lands’ first day with panache.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The 10th annual Outside Lands kicked off with Gorillaz, Future Islands, Noname, Henry Rollins, Kali Uchis and more.",
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"title": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday afternoon, the masses descended upon Golden Gate Park for the annual, three-day marathon of music, comedy, food and mayhem that is Outside Lands. And if the first day was any indication, a little more magic is in the air than usual: After all, this year is \u003ca href=\"https://ww2.kqed.org/arts/2017/08/10/10-years-of-outside-lands-a-look-back-in-pictures/\" target=\"_blank\" rel=\"noopener\">the festival’s 10th anniversary\u003c/a>. The lineup is more star-studded and diverse than ever. And we’re keeping our eyes peeled for surprise guests and \u003ca href=\"https://twitter.com/sirpatstew/status/498589583509311488?lang=en\" target=\"_blank\" rel=\"noopener\">celebrity sightings\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out our highlights from the first day of the festival and stay tuned for live updates on Instagram throughout the weekend.\u003c/p>\n\u003cfigure id=\"attachment_13805220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4308.jpg\" alt=\"Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kali Uchis\u003c/h3>\n\u003cp>Kali Uchis hails from Virginia by way of Colombia, has proven herself to be an artist with vision since her 2013 debut, \u003cem>Drunken Babble\u003c/em>. Her soul-tinged pop, though audibly contemporary, is a direct descendent of lowrider oldies from the ’60s and ’70s. And her pastel-hued wardrobe and music videos complement her vintage sound to a T. Uchis brought all of these elements to life on stage on Friday night at Outside Lands following her sold-out show at the Rickshaw Stop the previous evening. Dressed in all white, she delivered gorgeous vocals in her signature pout, swaying, twirling, and shaking her hips for the audience like the late, great Selena. Tracks from her last project, like “Ridin’ Round,” were audience favorites, but her cover of Elvis Crespo’s “Suavemente” turned into an all-out, Santana-style jam session with a raging dance party to match.\u003c/p>\n\u003cfigure id=\"attachment_13805221\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4328.jpg\" alt=\"Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Henry Rollins\u003c/h3>\n\u003cp>Henry Rollins, the former frontman of legendary ’80s punk band Black Flag, has never had trouble staying in the public eye. After Black Flag disbanded in 1986, he continued a successful solo career with Rollins Band. And in recent years, he’s gained a reputation as an outspoken, progressive media personality with his regular op-eds in the \u003cem>LA Weekly\u003c/em>. Rollins brought his impassioned political viewpoints to the stage at \u003ca href=\"http://lineup.sfoutsidelands.com/?sort=thebarbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, Outside Lands’ comedy tent. In contrast to the hypersensitive stereotype of the liberal “snowflake,” he laid out his progressive politics with plenty of irreverent — and sometimes raunchy — humor. He took jabs at the Trump administration and called out fellow rock legend Ted Nugent for his racism and homophobia. But Rollins remained uproariously self-deprecating throughout, describing in detail how he bombed his comedy show the night of the 2016 election and sharing hilariously humbling experiences from his activist endeavors rather than painting himself as a savior.\u003c/p>\n\u003cfigure id=\"attachment_13805230\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4474.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Noname\u003c/h3>\n\u003cp>Rising Chicago star Noname exuded effortless cool at Outside Lands on Friday night as she strutted across the stage in her denim jacket and halo of curls. The rapper, born Fatimah Warner, got her start competing in poetry slams before acquiring a cult following with her 2016 musical debut, \u003cem>Telefone\u003c/em>. On the mixtape, her rap style is conversational and casual; on stage at Outside Lands, she revved up her motormouth flows and gave her set her all. Tracks like “Yesterday” and “Shadow Man,” both crowd favorites during her performance, were evocative streams of consciousness that prove Noname is a thoughtful — and sometimes pretty funny — observer of the human condition. She has a habit of being plainspoken yet profound: “Casket Pretty,” which she also performed, is a track about losing too many friends to Chicago’s gun violence epidemic. Although Noname admitted that the crowd of mostly white faces made her nervous as she performed the loaded song, the audience gave her reassurance to forge on.\u003c/p>\n\u003cfigure id=\"attachment_10223204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future-Islands-014-e1418851989347.jpg\" alt=\"\" width=\"800\" height=\"480\" class=\"size-full wp-image-10223204\">\u003cfigcaption class=\"wp-caption-text\">Future Islands\u003c/figcaption>\u003c/figure>\n\u003ch3>Future Islands\u003c/h3>\n\u003cp>Baltimore indie rock band Future Islands will probably always be associated with their 2014 performance on \u003cem>The Late Show\u003c/em>, where they managed, in a rare feat, to \u003ca href=\"https://www.youtube.com/watch?v=GK4lD3Uf8_o\" target=\"_blank\" rel=\"noopener\">leave David Letterman astounded.\u003c/a>. Indeed, singer Samuel T. Herring’s emotional delivery is incredibly cathartic; Friday night, he danced, writhed, and clenched his fists as he sang the band’s best-known songs, “Seasons (Waiting On You)” and “Ran,” throwing his entire body into his passionate performance. The band’s driving percussion, punchy bass lines, and melodious synths counterbalanced Herring’s display of raw feeling with the structure of ’80s new wave. Future Islands have one of the most distinct styles out there. And it turns out they’re incredibly fun to dance to, especially if you have a heartbreak you need to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13805257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4872.jpg\" alt=\"The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gorillaz\u003c/h3>\n\u003cp>A cartoon band was the perfect way for Damon Albarn, the lead singer of ’90s rock band Blur, to reinvent himself at the start of the new millennium. Gorillaz’ fictional personas gave Albarn the freedom to collaborate with a wide range of musicians, creating a fusion of pop, hip-hop, rock, and even disco and trip-hop that was well ahead of its time. (Calvin Harris, for instance, is currently toping charts with a similarly eclectic, danceable mix of genres.) Gorillaz, whose new album \u003cem>Humanz\u003c/em> came out in April, are now well past the gimmick of a virtual band. During their nearly two-hour headlining set, Albarn rocked out on stage to classics like “Feel Good Inc” and “Clint Eastwood.” But there were also plenty of surprises: Little Dragon, Pusha T, Kali Uchis, Del the Funky Homosapien, and even British rapper Little Simz joined Gorillaz on stage at various points of the evening. Albarn commanded the stage like the spectacle’s ringleader, closing Outside Lands’ first day with panache.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments",
"headTitle": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments | KQED",
"content": "\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2008\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805024,13805025,13805026,13805027,13805028,13805029,13805030,13805031,13805032,13805033,13805034,13805035,13805036,13805037,13805038,13805039,13805040,13805041,13805042,13805043,13805044,13805045,13805046,13805047,13805048\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2009\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805051,13805052,13805053,13805054,13805055,13805056,13805057,13805058,13805059,13805061,13805062,13805063,13805064,13805065\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2010\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805087,13805086,13805085,13805084,13805080,13805081,13805082,13805083,13805079,13805078,13805077\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2011\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805089,13805090,13805092,13805093,13805094,13805095,13805096,13805097,13805098,13805099,13805100,13805101,13805102,13805103,13805104,13805105,13805106,13805107,13805108,13805109,13805110\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2012\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805111,13805112,13805113,13805114,13805115,13805116,13805117,13805118,13805119\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2014\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805121,13805122,13805123,13805124,13805125,13805127,13805128,13805129,13805131,13805132,13805133,13805134,13805135,13805136,13805137,13805138,13805139,13805140,13805141\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2015\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"10885093,10885096,10885098,10885099,10885100,10885104,10885105,10885108,10886954,10886957,10886958,10886963,10886964,10886970,10886973,10888721,10888719,10886974,10888717,10888727,10888734,10888736,10888737,10888729\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\n\u003cp>https://www.instagram.com/p/6L0CXCSSRC/\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2016\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"11901951,11903497,11903671,11903679,11903678,11903682,11903684,11907405,11907960,11907961,11907970,11907966,11907968,11911965,11907977,11911972,11907978,11911976,11911973,11911974,11912298\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\n\u003cp>https://www.instagram.com/p/BIybAeQg1yd/\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Outside Lands returns for its 10th year this weekend, and there's no better time to look back at the past decade of music, fashion, and people at the festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2008\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2009\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\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/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2010\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2011\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2012\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2014\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2015\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003ch2>2016\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands 2017 Lineup: Metallica, Lorde, Gorillaz, The Who, A Tribe Called Quest",
"headTitle": "Outside Lands 2017 Lineup: Metallica, Lorde, Gorillaz, The Who, A Tribe Called Quest | KQED",
"content": "\u003cp>After weeks of speculation (and about \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/still-no-lineup-but-outside-lands-2017-tickets-go-on-sale-this-thursday/\">a week of people buying rather pricey tickets regardless of who was playing\u003c/a>), the lineup for this year’s \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Outside Lands Music Festival\u003c/a>, taking place Aug. 11 – 13 in Golden Gate Park, arrived this morning.\u003c/p>\n\u003cp>Headliners include Metallica, Lorde, the newly reunited Gorillaz, A Tribe Called Quest and The Who (in that requisite legacy act spot). Note that usually there are just three names in this top line, one for each night of the festival — whom, we wonder, will be sharing the spotlight on a given evening? Big names farther down the poster include Solange, Queens of the Stone Age, Fleet Foxes, Little Dragon, Tove Lo… the list goes on. On the local tip (aside from, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" target=\"_blank\" rel=\"noopener\">er, Metallica\u003c/a>) it’s nice to see the Bay Area’s women represented with K. Flay, Kamaiyah, and The Shes.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13002335\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg\" alt=\"17760995_10154188424771148_4353349440459346477_o\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg 1203w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>With food, booze and comedy lineups still to come, three-day tickets ($375 or $795, depending on whether or not you’re Very Important) go on sale this \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Thursday, April 6 at 10am right here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands 2017 will take place Aug. 11 – 13 in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. Read KQED Arts’ coverage of \u003ca href=\"https://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">the 2016 festival here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Solange, Queens of the Stone Age and a slew of others will play the festival's 10th anniversary this Aug. 11 - 13 in Golden Gate Park. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After weeks of speculation (and about \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/still-no-lineup-but-outside-lands-2017-tickets-go-on-sale-this-thursday/\">a week of people buying rather pricey tickets regardless of who was playing\u003c/a>), the lineup for this year’s \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Outside Lands Music Festival\u003c/a>, taking place Aug. 11 – 13 in Golden Gate Park, arrived this morning.\u003c/p>\n\u003cp>Headliners include Metallica, Lorde, the newly reunited Gorillaz, A Tribe Called Quest and The Who (in that requisite legacy act spot). Note that usually there are just three names in this top line, one for each night of the festival — whom, we wonder, will be sharing the spotlight on a given evening? Big names farther down the poster include Solange, Queens of the Stone Age, Fleet Foxes, Little Dragon, Tove Lo… the list goes on. On the local tip (aside from, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" target=\"_blank\" rel=\"noopener\">er, Metallica\u003c/a>) it’s nice to see the Bay Area’s women represented with K. Flay, Kamaiyah, and The Shes.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13002335\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg\" alt=\"17760995_10154188424771148_4353349440459346477_o\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg 1203w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>With food, booze and comedy lineups still to come, three-day tickets ($375 or $795, depending on whether or not you’re Very Important) go on sale this \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Thursday, April 6 at 10am right here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands 2017 will take place Aug. 11 – 13 in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. Read KQED Arts’ coverage of \u003ca href=\"https://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">the 2016 festival here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Still No Lineup, But Outside Lands 2017 Tickets Go On Sale This Thursday",
"headTitle": "Still No Lineup, But Outside Lands 2017 Tickets Go On Sale This Thursday | KQED",
"content": "\u003cp>Do you love Outside Lands? Do you love Outside Lands so much you’re certain you’ll be going, even before you know who’s playing? Have I got news for you!\u003c/p>\n\u003cp>Yes, early-bird three-day passes for \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2017\u003c/a> go on sale this Thursday, March 30 at 10am, and if you’re among the festival enthusiasts who can’t wait to spend the weekend of Aug. 11- 13 gettin’ #festy in Golden Gate Park — again, completely regardless of who’s on stage — you should probably get your clicking finger ready: \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">Last year, when the music and food festival first took a cue from Coachella and put a limited quantity of tickets up for sale a full week before announcing the lineup\u003c/a>, said passes sold out within 24 hours.\u003c/p>\n\u003cp>There’s no reason to suspect this year, OSL’s 10th anniversary (meaning yes, that much time has passed since you were there for the infamous Radiohead Sound Problems of 2008) should be any different. The festival, the true jewel in Another Planet Entertainment’s crown, gets bigger every year — with a price tag to match. This year three-day general admission passes go for $355; the VIP option (slightly nicer bathrooms, shorter lines for drinks, invaluable sense of superiority) will be $765.\u003c/p>\n\u003cp>As for that lineup: If wild speculation is your thing, check out \u003ca href=\"http://sfist.com/2017/03/23/likely_outside_lands_performers_bas.php\" target=\"_blank\" rel=\"noopener\">predictions from SFist here\u003c/a>, or the \u003ca href=\"https://www.reddit.com/r/OutsideLands/comments/5xupmi/predictions_for_outside_lands_2017/\" target=\"_blank\" rel=\"noopener\">Outside Lands subreddit here\u003c/a>. Metallica, Lorde, The Weeknd, Arcade Fire, Father John Misty, Wiz Khalifa, and A Tribe Called Quest all seem to be strong maybes so far.\u003c/p>\n\u003cp>More to come as soon as there’s, you know, actual new information to share. In the meantime, head on over to \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">sfoutsidelands.com\u003c/a> on Thursday at 10am to snag tickets to the thing, which will absolutely involve music and food. We’ll just be over here picking out this year’s \u003ca href=\"https://ww2.kqed.org/pop/2016/08/04/headed-to-outside-lands-us-too-lets-play-bingo/\" target=\"_blank\" rel=\"noopener\">culturally insensitive headwear\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003c/p>\n\u003cp>\u003cem>Outside Lands 2017 will take place Aug. 11 – 13 in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. Read KQED Arts’ coverage of \u003ca href=\"https://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">the 2016 festival here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you love Outside Lands? Do you love Outside Lands so much you’re certain you’ll be going, even before you know who’s playing? Have I got news for you!\u003c/p>\n\u003cp>Yes, early-bird three-day passes for \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2017\u003c/a> go on sale this Thursday, March 30 at 10am, and if you’re among the festival enthusiasts who can’t wait to spend the weekend of Aug. 11- 13 gettin’ #festy in Golden Gate Park — again, completely regardless of who’s on stage — you should probably get your clicking finger ready: \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">Last year, when the music and food festival first took a cue from Coachella and put a limited quantity of tickets up for sale a full week before announcing the lineup\u003c/a>, said passes sold out within 24 hours.\u003c/p>\n\u003cp>There’s no reason to suspect this year, OSL’s 10th anniversary (meaning yes, that much time has passed since you were there for the infamous Radiohead Sound Problems of 2008) should be any different. The festival, the true jewel in Another Planet Entertainment’s crown, gets bigger every year — with a price tag to match. This year three-day general admission passes go for $355; the VIP option (slightly nicer bathrooms, shorter lines for drinks, invaluable sense of superiority) will be $765.\u003c/p>\n\u003cp>As for that lineup: If wild speculation is your thing, check out \u003ca href=\"http://sfist.com/2017/03/23/likely_outside_lands_performers_bas.php\" target=\"_blank\" rel=\"noopener\">predictions from SFist here\u003c/a>, or the \u003ca href=\"https://www.reddit.com/r/OutsideLands/comments/5xupmi/predictions_for_outside_lands_2017/\" target=\"_blank\" rel=\"noopener\">Outside Lands subreddit here\u003c/a>. Metallica, Lorde, The Weeknd, Arcade Fire, Father John Misty, Wiz Khalifa, and A Tribe Called Quest all seem to be strong maybes so far.\u003c/p>\n\u003cp>More to come as soon as there’s, you know, actual new information to share. In the meantime, head on over to \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">sfoutsidelands.com\u003c/a> on Thursday at 10am to snag tickets to the thing, which will absolutely involve music and food. We’ll just be over here picking out this year’s \u003ca href=\"https://ww2.kqed.org/pop/2016/08/04/headed-to-outside-lands-us-too-lets-play-bingo/\" target=\"_blank\" rel=\"noopener\">culturally insensitive headwear\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003c/p>\n\u003cp>\u003cem>Outside Lands 2017 will take place Aug. 11 – 13 in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. Read KQED Arts’ coverage of \u003ca href=\"https://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">the 2016 festival here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands 2016: Sunday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Sunday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Sunday at Outside Lands always feels a little more subdued, with the majority of the 70,000-thick crowd tired and/or hungover from the previous two days’ worth of revelry. Much to the chagrin of the bleary-eyed, the sun chose to make an appearance on Sunday in the otherwise foggy and overcast Golden Gate Park. And it actually may have kept some away — while Major Lazer and Chance the Rapper drew huge crowds, audiences the rest of the day were graciously sparse.\u003c/p>\n\u003cp>See our roundups of Outside Lands from \u003ca href=\"https://ww2.kqed.org/arts/2016/08/06/outside-lands-2016-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read what sent the festival off in style on Sunday below.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg\" alt=\"The Muppets' Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"508\" class=\"size-medium wp-image-11911976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Muppets’ Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Dr. Teeth & the Electric Mayhem\u003c/h3>\n\u003cp>Like you, I am weary of the modern day’s \u003ca href=\"http://ww2.kqed.org/pop/2016/07/14/nintendo-to-produce-tiny-retro-nes-because-nostalgia-is-an-oil-well-that-never-runs-dry/\" target=\"_blank\" rel=\"noopener\">pervasive nostalgia economy\u003c/a>, but I can’t lie: there was nothing to hate on here. Announced as “the only stop on our world tour,” the hilarious 1970s band from \u003cem>The Muppet Show\u003c/em> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of crass tech marketing ploy. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and — after opening with their classic “Can You Picture That?” — playing songs by the Band and Edward Sharpe & the Magnetic Zeros.\u003c/p>\n\u003cp>Then, just when I thought it couldn’t get any nuttier, the Oakland Interfaith Gospel Choir strolled on stage for \u003ca href=\"https://twitter.com/gmeline/status/762406814851801088\" target=\"_blank\" rel=\"noopener\">a Joe Cocker-inspired version of “With a Little Help from my Friends,”\u003c/a> and the entire over-the-top ridiculous \u003cem>fun\u003c/em> of the whole thing blew through the entire crowd. For what was just a short one-time show, it had to have been a ton of work, and after the smoke settled, the crew of Muppet operators emerged from beneath the riser… to a \u003cem>huge\u003c/em> burst of screams and applause for being zany enough to pull this off. (Watch the whole set \u003ca href=\"https://ww2.kqed.org/pop/2016/08/07/heres-muppet-band-dr-teeth-and-the-electric-mayhem-performing-at-outside-lands/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> at KQED Pop.)\u003c/p>\n\u003cfigure id=\"attachment_11911965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg\" alt=\"Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"551\" class=\"size-medium wp-image-11911965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Kehlani\u003c/h3>\n\u003cp>Making her first hometown appearance in eight months, Kehlani wasted no time talking about Oakland; growing up in the Town, singing on BART, and eventually going on a world tour. Throughout a gymnastic set heavy on her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, the 21-year-old repeatedly doled out inspirational advice and messages of self-love while running through the audience and \u003ca href=\"https://twitter.com/gmeline/status/762432160556908549\" target=\"_blank\" rel=\"noopener\">getting close to her fans\u003c/a>. And while a much-anticipated guest spot by Chance the Rapper on “The Way” failed to materialize, Kehlani still brought it hard for her home turf. “There’s so much talent here in the Bay Area!” she said. “Don’t let anybody tell you that you can’t do what you want and make it! Go out there and get it all and bring it back to the Bay!”\u003c/p>\n\u003cfigure id=\"attachment_11911410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg\" alt=\"Chance The Rapper at OSL. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11911410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance The Rapper at OSL. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Chance the Rapper\u003c/h3>\n\u003cp>In 2013, Chance the Rapper was exploding in every direction. That year, during a neutron blast of a show at the Regency Ballroom in San Francisco, I witnessed the guy run through tracks from his then-new mixtape \u003cem>Acid Rap\u003c/em> with a raw ferociousness, blending amphetamine jazz and rapid-fire rapping on a stage too crowded with talent to fathomably conceive. Since then, the stages have gotten bigger, the songs’ rough edges have been smoothed, and Chance the Rapper’s broad appeal is guaranteed: he’s positive, uplifting, melodic, and continues to be insanely skilled on the mic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That helps explain why Chance drew an even larger crowd on Sunday afternoon than Radiohead did the night before, in a set pulled almost exclusively from his latest album, \u003cem>Coloring Book\u003c/em>. His show-stopping \u003ca href=\"https://twitter.com/gmeline/status/762443273596080128\" target=\"_blank\" rel=\"noopener\">verse\u003c/a> from Kanye West’s “Ultralight Beam” killed, too, and the lines about God in that song as well as from \u003cem>Coloring Book\u003c/em> aren’t just talk: he explained that he nearly missed his set because he’d been volunteering for his grandma’s church organization earlier in the day. Doncha just want to pinch the guy’s cheeks?\u003c/p>\n\u003cfigure id=\"attachment_11911971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg\" alt=\"Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"537\" class=\"size-medium wp-image-11911971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Miguel\u003c/h3>\n\u003cp>After a one-two of “The Thrill” and “Ride that Wave,” Miguel weaved a thread that led from his father, born in Michocán, to his mother, “a beautiful black woman from Los Angeles,” on to the racial upheaval of late. “We’re living in such a crazy time, it feels like a paradigm shift,” he said. “All around the world, and at home, it feels like shit is slowly unraveling. And I ain’t gonna ruin the moment by pretending that I know the solution.” This led into a speech on the unifying power of music, the need for curiosity, and — hey, it’s a music festival — a rousing chorus of “Do You Like Drugs?” At his best, Miguel channels strains of Prince, Michael Jackson, and James Brown (those \u003cem>moves\u003c/em>), and he intertwined all three on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11912298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg\" alt=\"Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-11912298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Photo via @LionelRichie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lionel Richie\u003c/h3>\n\u003cp>I’m biased when it comes to Lionel Richie: I grew up on his music, and the fact that I knew almost every word of his headlining set is evidence that young brains are absorbent musical sponges. But I wasn’t the only one amazed at how lithe, energetic and powerful he appeared to be while fulfilling an early promise of “all the hits!” “Runnin’ With the Night,” “Say You, Say Me,” “Dancin’ on the Ceiling,” “Lady,” “Penny Lover,” and \u003ca href=\"https://twitter.com/gmeline/status/762504340359700481\" target=\"_blank\" rel=\"noopener\">on and on\u003c/a> until the inevitable closers “Hello” and “All Night Long” — the guy really gave his all, and the crowd gave it back. “I may need security!” he joked at one point, “This crowd is out of control!” I remember when, after a long career hiatus, Lionel Richie at last turned up to headline the Paramount Theater in Oakland several years ago; then all of a sudden he was a country singer, with a lifetime tribute at the Academy of Country Music Awards to boot. Glad he ditched the pedal steel and brought the soul on Sunday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11911976,11911972,11911967,11911624,11911609,11911605,11911589,11911411,11911410,11911407,11912298,11911977,11911970,11911968,11911975,11911965,11911969,11911621,11911615,11911613,11911608,11911612,11911594,11911529,11911979,11911974,11911971,11911973,11911966,11911597,11911409\"]\u003c/p>\n\n",
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"excerpt": "Sunday at Outside Lands is often calm, but sets by Kehlani, Chance the Rapper, Lionel Richie, the Muppets (yes, those Muppets) and more kept things lively in Golden Gate Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday at Outside Lands always feels a little more subdued, with the majority of the 70,000-thick crowd tired and/or hungover from the previous two days’ worth of revelry. Much to the chagrin of the bleary-eyed, the sun chose to make an appearance on Sunday in the otherwise foggy and overcast Golden Gate Park. And it actually may have kept some away — while Major Lazer and Chance the Rapper drew huge crowds, audiences the rest of the day were graciously sparse.\u003c/p>\n\u003cp>See our roundups of Outside Lands from \u003ca href=\"https://ww2.kqed.org/arts/2016/08/06/outside-lands-2016-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read what sent the festival off in style on Sunday below.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg\" alt=\"The Muppets' Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"508\" class=\"size-medium wp-image-11911976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Muppets’ Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Dr. Teeth & the Electric Mayhem\u003c/h3>\n\u003cp>Like you, I am weary of the modern day’s \u003ca href=\"http://ww2.kqed.org/pop/2016/07/14/nintendo-to-produce-tiny-retro-nes-because-nostalgia-is-an-oil-well-that-never-runs-dry/\" target=\"_blank\" rel=\"noopener\">pervasive nostalgia economy\u003c/a>, but I can’t lie: there was nothing to hate on here. Announced as “the only stop on our world tour,” the hilarious 1970s band from \u003cem>The Muppet Show\u003c/em> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of crass tech marketing ploy. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and — after opening with their classic “Can You Picture That?” — playing songs by the Band and Edward Sharpe & the Magnetic Zeros.\u003c/p>\n\u003cp>Then, just when I thought it couldn’t get any nuttier, the Oakland Interfaith Gospel Choir strolled on stage for \u003ca href=\"https://twitter.com/gmeline/status/762406814851801088\" target=\"_blank\" rel=\"noopener\">a Joe Cocker-inspired version of “With a Little Help from my Friends,”\u003c/a> and the entire over-the-top ridiculous \u003cem>fun\u003c/em> of the whole thing blew through the entire crowd. For what was just a short one-time show, it had to have been a ton of work, and after the smoke settled, the crew of Muppet operators emerged from beneath the riser… to a \u003cem>huge\u003c/em> burst of screams and applause for being zany enough to pull this off. (Watch the whole set \u003ca href=\"https://ww2.kqed.org/pop/2016/08/07/heres-muppet-band-dr-teeth-and-the-electric-mayhem-performing-at-outside-lands/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> at KQED Pop.)\u003c/p>\n\u003cfigure id=\"attachment_11911965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg\" alt=\"Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"551\" class=\"size-medium wp-image-11911965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Kehlani\u003c/h3>\n\u003cp>Making her first hometown appearance in eight months, Kehlani wasted no time talking about Oakland; growing up in the Town, singing on BART, and eventually going on a world tour. Throughout a gymnastic set heavy on her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, the 21-year-old repeatedly doled out inspirational advice and messages of self-love while running through the audience and \u003ca href=\"https://twitter.com/gmeline/status/762432160556908549\" target=\"_blank\" rel=\"noopener\">getting close to her fans\u003c/a>. And while a much-anticipated guest spot by Chance the Rapper on “The Way” failed to materialize, Kehlani still brought it hard for her home turf. “There’s so much talent here in the Bay Area!” she said. “Don’t let anybody tell you that you can’t do what you want and make it! Go out there and get it all and bring it back to the Bay!”\u003c/p>\n\u003cfigure id=\"attachment_11911410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg\" alt=\"Chance The Rapper at OSL. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11911410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance The Rapper at OSL. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Chance the Rapper\u003c/h3>\n\u003cp>In 2013, Chance the Rapper was exploding in every direction. That year, during a neutron blast of a show at the Regency Ballroom in San Francisco, I witnessed the guy run through tracks from his then-new mixtape \u003cem>Acid Rap\u003c/em> with a raw ferociousness, blending amphetamine jazz and rapid-fire rapping on a stage too crowded with talent to fathomably conceive. Since then, the stages have gotten bigger, the songs’ rough edges have been smoothed, and Chance the Rapper’s broad appeal is guaranteed: he’s positive, uplifting, melodic, and continues to be insanely skilled on the mic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That helps explain why Chance drew an even larger crowd on Sunday afternoon than Radiohead did the night before, in a set pulled almost exclusively from his latest album, \u003cem>Coloring Book\u003c/em>. His show-stopping \u003ca href=\"https://twitter.com/gmeline/status/762443273596080128\" target=\"_blank\" rel=\"noopener\">verse\u003c/a> from Kanye West’s “Ultralight Beam” killed, too, and the lines about God in that song as well as from \u003cem>Coloring Book\u003c/em> aren’t just talk: he explained that he nearly missed his set because he’d been volunteering for his grandma’s church organization earlier in the day. Doncha just want to pinch the guy’s cheeks?\u003c/p>\n\u003cfigure id=\"attachment_11911971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg\" alt=\"Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"537\" class=\"size-medium wp-image-11911971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Miguel\u003c/h3>\n\u003cp>After a one-two of “The Thrill” and “Ride that Wave,” Miguel weaved a thread that led from his father, born in Michocán, to his mother, “a beautiful black woman from Los Angeles,” on to the racial upheaval of late. “We’re living in such a crazy time, it feels like a paradigm shift,” he said. “All around the world, and at home, it feels like shit is slowly unraveling. And I ain’t gonna ruin the moment by pretending that I know the solution.” This led into a speech on the unifying power of music, the need for curiosity, and — hey, it’s a music festival — a rousing chorus of “Do You Like Drugs?” At his best, Miguel channels strains of Prince, Michael Jackson, and James Brown (those \u003cem>moves\u003c/em>), and he intertwined all three on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11912298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg\" alt=\"Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-11912298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Photo via @LionelRichie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lionel Richie\u003c/h3>\n\u003cp>I’m biased when it comes to Lionel Richie: I grew up on his music, and the fact that I knew almost every word of his headlining set is evidence that young brains are absorbent musical sponges. But I wasn’t the only one amazed at how lithe, energetic and powerful he appeared to be while fulfilling an early promise of “all the hits!” “Runnin’ With the Night,” “Say You, Say Me,” “Dancin’ on the Ceiling,” “Lady,” “Penny Lover,” and \u003ca href=\"https://twitter.com/gmeline/status/762504340359700481\" target=\"_blank\" rel=\"noopener\">on and on\u003c/a> until the inevitable closers “Hello” and “All Night Long” — the guy really gave his all, and the crowd gave it back. “I may need security!” he joked at one point, “This crowd is out of control!” I remember when, after a long career hiatus, Lionel Richie at last turned up to headline the Paramount Theater in Oakland several years ago; then all of a sudden he was a country singer, with a lifetime tribute at the Academy of Country Music Awards to boot. Glad he ditched the pedal steel and brought the soul on Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2016: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Saturday at Outside Lands is like Las Vegas if every corporate convention descended on the strip at once — and every casino had ten hours’ worth of headliners all day. It’s shoulder-to-shoulder crowded, bands everywhere are competing for people’s attention, and a sense of entitled celebration pervades. It’s a minor miracle that everyone makes it out alive.\u003c/p>\n\u003cp>Naturally, sandwiched between the chaos this year were some stellar sets by bands both young and established. Here were our highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11907421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg\" alt=\"Con Brio at OSL.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11907421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio at OSL. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Con Brio\u003c/h3>\n\u003cp>Regular KQED viewers will remember Con Brio from our video of the San Francisco seven-piece \u003ca href=\"http://ww2.kqed.org/arts/2016/07/13/watch-con-brio-play-living-for-the-city-on-the-golden-gate-bridge/\" target=\"_blank\" rel=\"noopener\">playing Stevie Wonder’s “Livin’ for the City” inside their tour van while driving across the Golden Gate Bridge\u003c/a>. At Outside Lands’ Panhandle Stage on Saturday, Con Brio turned up the energy to 11, commanded a huge crowd, and tore through a sizzling set of uptempo funk and soul that did the Bay Area proud. After the band’s nimble, magnetic frontman \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a> ended the show with a series of backflips and James Brown splits, a newly won-over fan stood on the barricade and shouted, “That’s it! That’s the best performance you’ll see all day! Shut down the festival!”\u003c/p>\n\u003cfigure id=\"attachment_11907960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg\" alt=\"Anderson .Paak at Outside Lands.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-11907960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-960x584.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Anderson .Paak\u003c/h3>\n\u003cp>Once again, the small Panhandle Stage delivered on Saturday with the Southern Californian R&B singer, rapper and multi-instrumentalist Anderson .Paak, whose recent album \u003cem>Malibu\u003c/em> is a rich swamp of soul destined for many year-end lists. His job on Saturday night was essentially to justify people’s decisions to skip the first half of huge-name headliner Radiohead, and after seeing him singing, rapping, dancing, telling stories and drumming up a storm, I can’t imagine anyone regretted it. It’ll be interesting to see what the future has in store for the guy; he’s got nowhere to go but up.\u003c/p>\n\u003cfigure id=\"attachment_11907965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg\" alt=\"Halsey at Outside Lands.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11907965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halsey at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Halsey\u003c/h3>\n\u003cp>Halsey’s evening set fell somewhere between the intricate indie balladry of Sufjan Stevens — winged and elegant on the Sutro Stage in the afternoon — and the EDM mayhem of Zedd, who headlined the Twin Peaks stage with gut-rumbling drops and face-singing pyrotechnics. Hers is the kind of electro-pop one can get behind: she grew from troubled teen years of bipolar disorder and bad boyfriends to a tightly organized style of songwriting and production, and in Golden Gate Park, won over a rapt crowd.\u003c/p>\n\u003cfigure id=\"attachment_11907976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg\" alt=\"The crowd at E-40.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at E-40. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. E-40\u003c/h3>\n\u003cp>The cryptic press release arrived earlier in the week, announcing a pop-up show of E-40 and Warren G performing one song together outside the Heineken tent. It had all the makings of yet another sponsored bit of hype — would it really be just one song? As it turned out, E-40 did “Tell Me When to Go,” “Choices,” “Function” and more, a seven-song blast of Bay Area love to a gigantic mob that was already smashed like sardines 20 minutes before Vallejo’s royal son (and \u003ca href=\"http://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\" rel=\"noopener\">professional Mother’s Day card signer\u003c/a>) hit the stage with guests Nef the Pharaoh and Warren G. Note to festival organizers: get E-40 on a larger stage next year.\u003c/p>\n\u003cfigure id=\"attachment_11907977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg\" alt=\"Radiohead at Outside Lands.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radiohead at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Radiohead\u003c/h3>\n\u003cp>I distinctly remmeber, eight years ago on the first night of the very first Outside Lands, thinking that Radiohead was far too creative and strange for a giant field full of people to genuinely love. But theirs was a rare success story of the weird kids winning, and in their return performance Saturday night, both the weirdness and the crowd seemed more subdued. Part of this may have been to a semi-exodus partway through when Zedd took the stage, which speaks to EDM’s enduring popularity, but part of it owes to Radiohead playing mostly new material. Two-thirds of the way through, we started getting “Everything in Its Right Place,” “Idioteque,” “Let Down” and other older classics, and the energy changed. As we left the festival during Radiohead’s encore, we discovered a hill full of people sitting outside the gates near Spreckels Lake, listening for free to “Paranoid Android” and “Karma Police” and appearing even more excited than the crowd in the Polo Field. Go figure!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11907960,11907961,11907963,11907964,11907965,11907966,11907969,11907970,11907971,11907974,11907968,11907967,11907972,11907976,11907977,11907234,11907402,11907405,11907411,11907415,11907421,11907420,11907417,11907424,11907430,11907602,11907603,11907433,11907609,11907612,11907616,11907617,11907957,11907958,11907959\" orderby=\"rand\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday at Outside Lands is like Las Vegas if every corporate convention descended on the strip at once — and every casino had ten hours’ worth of headliners all day. It’s shoulder-to-shoulder crowded, bands everywhere are competing for people’s attention, and a sense of entitled celebration pervades. It’s a minor miracle that everyone makes it out alive.\u003c/p>\n\u003cp>Naturally, sandwiched between the chaos this year were some stellar sets by bands both young and established. Here were our highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11907421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg\" alt=\"Con Brio at OSL.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11907421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio at OSL. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Con Brio\u003c/h3>\n\u003cp>Regular KQED viewers will remember Con Brio from our video of the San Francisco seven-piece \u003ca href=\"http://ww2.kqed.org/arts/2016/07/13/watch-con-brio-play-living-for-the-city-on-the-golden-gate-bridge/\" target=\"_blank\" rel=\"noopener\">playing Stevie Wonder’s “Livin’ for the City” inside their tour van while driving across the Golden Gate Bridge\u003c/a>. At Outside Lands’ Panhandle Stage on Saturday, Con Brio turned up the energy to 11, commanded a huge crowd, and tore through a sizzling set of uptempo funk and soul that did the Bay Area proud. After the band’s nimble, magnetic frontman \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a> ended the show with a series of backflips and James Brown splits, a newly won-over fan stood on the barricade and shouted, “That’s it! That’s the best performance you’ll see all day! Shut down the festival!”\u003c/p>\n\u003cfigure id=\"attachment_11907960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg\" alt=\"Anderson .Paak at Outside Lands.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-11907960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-960x584.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Anderson .Paak\u003c/h3>\n\u003cp>Once again, the small Panhandle Stage delivered on Saturday with the Southern Californian R&B singer, rapper and multi-instrumentalist Anderson .Paak, whose recent album \u003cem>Malibu\u003c/em> is a rich swamp of soul destined for many year-end lists. His job on Saturday night was essentially to justify people’s decisions to skip the first half of huge-name headliner Radiohead, and after seeing him singing, rapping, dancing, telling stories and drumming up a storm, I can’t imagine anyone regretted it. It’ll be interesting to see what the future has in store for the guy; he’s got nowhere to go but up.\u003c/p>\n\u003cfigure id=\"attachment_11907965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg\" alt=\"Halsey at Outside Lands.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11907965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halsey at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Halsey\u003c/h3>\n\u003cp>Halsey’s evening set fell somewhere between the intricate indie balladry of Sufjan Stevens — winged and elegant on the Sutro Stage in the afternoon — and the EDM mayhem of Zedd, who headlined the Twin Peaks stage with gut-rumbling drops and face-singing pyrotechnics. Hers is the kind of electro-pop one can get behind: she grew from troubled teen years of bipolar disorder and bad boyfriends to a tightly organized style of songwriting and production, and in Golden Gate Park, won over a rapt crowd.\u003c/p>\n\u003cfigure id=\"attachment_11907976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg\" alt=\"The crowd at E-40.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at E-40. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. E-40\u003c/h3>\n\u003cp>The cryptic press release arrived earlier in the week, announcing a pop-up show of E-40 and Warren G performing one song together outside the Heineken tent. It had all the makings of yet another sponsored bit of hype — would it really be just one song? As it turned out, E-40 did “Tell Me When to Go,” “Choices,” “Function” and more, a seven-song blast of Bay Area love to a gigantic mob that was already smashed like sardines 20 minutes before Vallejo’s royal son (and \u003ca href=\"http://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\" rel=\"noopener\">professional Mother’s Day card signer\u003c/a>) hit the stage with guests Nef the Pharaoh and Warren G. Note to festival organizers: get E-40 on a larger stage next year.\u003c/p>\n\u003cfigure id=\"attachment_11907977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg\" alt=\"Radiohead at Outside Lands.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radiohead at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Radiohead\u003c/h3>\n\u003cp>I distinctly remmeber, eight years ago on the first night of the very first Outside Lands, thinking that Radiohead was far too creative and strange for a giant field full of people to genuinely love. But theirs was a rare success story of the weird kids winning, and in their return performance Saturday night, both the weirdness and the crowd seemed more subdued. Part of this may have been to a semi-exodus partway through when Zedd took the stage, which speaks to EDM’s enduring popularity, but part of it owes to Radiohead playing mostly new material. Two-thirds of the way through, we started getting “Everything in Its Right Place,” “Idioteque,” “Let Down” and other older classics, and the energy changed. As we left the festival during Radiohead’s encore, we discovered a hill full of people sitting outside the gates near Spreckels Lake, listening for free to “Paranoid Android” and “Karma Police” and appearing even more excited than the crowd in the Polo Field. Go figure!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2016: Friday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Day one at Outside Lands is always a little overwhelming, and this year was no exception. On a weekday when crowds have usually been thin in years past, everything seemed a little more crowded this year, with more branded “experiences” that came with FB- and IG-like admission and instructions for proper social media posting (a.k.a. free advertising), as well as DJ booths, arcade games, art walls, steampunk sideshows, pop-up shows and dozens more — each with its own hashtag, naturally. The message at big festivals is always a little anxious: \u003cem>This. Is. An. Experience. You. Are. Having!\u003c/em>\u003c/p>\n\u003cp>Beyond the crowds and targeted #Millennial sponsorships, there happens to be some great music at Outside Lands. While our KQED friends over at \u003ca href=\"https://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2016/08/06/guide-some-of-the-best-things-to-eat-at-outside-lands-2016/\" target=\"_blank\" rel=\"noopener\">rundown of this year’s food offerings\u003c/a>, here’s what resonated with us onstage on Friday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11903866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg\" alt=\"LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. LCD Soundsystem\u003c/h3>\n\u003cp>After a long, slow building set, the reunited stalwarts of analog dance jams ended with a triple threat of hits: “New York, I Love You, But You’re Bringing Me Down,” “Dance Yourself Clean,” and “All My Friends” — the latter culminating in a giant sing-along of “If I could see all my friends to-niiiiiiight!” Slicker and more polished than their last Bay Area appearance (on Treasure Island, in 2010), James Murphy & Co. proved themselves worthy first-day headliners.\u003c/p>\n\u003cfigure id=\"attachment_11903867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg\" alt=\"Grimes performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grimes performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Grimes\u003c/h3>\n\u003cp>Once a woozy electronic artist with effects-laden vocals and loops, the Canadian artist Clare Boucher underwent a more pop-oriented transformation with her latest album, \u003cem>Art Angels\u003c/em>, and it showed in her exuberant set on Friday. With smoke machines, backup dancers and an excellent band, Boucher bounced and danced around the entire stage to a crowd that gave all her energy right back.\u003c/p>\n\u003cfigure id=\"attachment_11901950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg\" alt=\"Duran Duran perform at Outside Lands. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11901950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duran Duran perform at Outside Lands. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Duran Duran\u003c/h3>\n\u003cp>Remember the ’80s? Outside Lands does too — they’ve recently taken to booking acts like Hall & Oates, and, coming this Sunday, Lionel Richie. (Will Michael McDonald be next?) In a seemingly perfectly timed late-afternoon slot, Duran Duran, led by the perpetually enigmatic Simon Le Bon, drove through a set of main-stage hits like “Hungry Like the Wolf,” “Wild Boys” and set-closer “Rio.” \u003c/p>\n\u003cfigure id=\"attachment_11903670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg\" alt=\"Beach House perform at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11903670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beach House perform at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Beach House\u003c/h3>\n\u003cp>The Baltimore duo of Victoria Legrand and Alex Scally thrive in close environments — witness their \u003ca href=\"http://ww2.kqed.org/pop/2016/04/27/beach-house-plays-exclusive-installation-show-to-200-people-sitting-on-the-floor/\" target=\"_blank\" rel=\"noopener\">intimate show at the Mission District’s Gray Area Space\u003c/a> earlier this year — so it was fitting to have them on the Sutro stage, whose naturally sculpted bowl seems to cradle the audience. Under a typically San Franciscan overcast sky, the band provided a welcome breather from the adrenaline on other stages, playing songs from their one-two 2015 album punch of \u003cem>Depression Cherry\u003c/em> and \u003cem>Thank Your Lucky Stars\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11903679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg\" alt=\"J. Cole performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11903679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Cole performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. J. Cole\u003c/h3>\n\u003cp>Despite playing at the same time as LCD Soundsystem, the rapper who \u003ca href=\"https://twitter.com/search?q=j.%20cole%20platinum%20no%20features&src=typd\" target=\"_blank\" rel=\"noopener\">went platinum with no features\u003c/a> drew a huge crowd at the Twin Peaks stage, with the unison crowd filling in bars on songs like “No Role Modelz” and “Crooked Smile.” In a white hoodie and shorts, J. Cole exemplified the wardrobe dilemma present in the crowd, as well — people either came bundled for Candlestick-proportions of fog, or barely covered in hopes of sun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11903687,11903686,11903685,11903684,11903678,11903679,11903680,11903681,11903682,11903683,11903675,11903676,11903673,11903311,11903312,11903497,11903671,11903672,11903670,11903310,11903677,11901950,11903149,11903145,11901952,11903147,11901951,11903148,11901953,11903309,11903144,11903151\" orderby=\"rand\"]\u003c/p>\n\n",
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"excerpt": "Friday's opening-day crowds at Outside Lands this year were huge from the onset, with musical highlights including Duran Duran, LCD Soundsystem, Grimes and more.",
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"description": "Friday's opening-day crowds at Outside Lands this year were huge from the onset, with musical highlights including Duran Duran, LCD Soundsystem, Grimes and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Day one at Outside Lands is always a little overwhelming, and this year was no exception. On a weekday when crowds have usually been thin in years past, everything seemed a little more crowded this year, with more branded “experiences” that came with FB- and IG-like admission and instructions for proper social media posting (a.k.a. free advertising), as well as DJ booths, arcade games, art walls, steampunk sideshows, pop-up shows and dozens more — each with its own hashtag, naturally. The message at big festivals is always a little anxious: \u003cem>This. Is. An. Experience. You. Are. Having!\u003c/em>\u003c/p>\n\u003cp>Beyond the crowds and targeted #Millennial sponsorships, there happens to be some great music at Outside Lands. While our KQED friends over at \u003ca href=\"https://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2016/08/06/guide-some-of-the-best-things-to-eat-at-outside-lands-2016/\" target=\"_blank\" rel=\"noopener\">rundown of this year’s food offerings\u003c/a>, here’s what resonated with us onstage on Friday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11903866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg\" alt=\"LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. LCD Soundsystem\u003c/h3>\n\u003cp>After a long, slow building set, the reunited stalwarts of analog dance jams ended with a triple threat of hits: “New York, I Love You, But You’re Bringing Me Down,” “Dance Yourself Clean,” and “All My Friends” — the latter culminating in a giant sing-along of “If I could see all my friends to-niiiiiiight!” Slicker and more polished than their last Bay Area appearance (on Treasure Island, in 2010), James Murphy & Co. proved themselves worthy first-day headliners.\u003c/p>\n\u003cfigure id=\"attachment_11903867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg\" alt=\"Grimes performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grimes performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Grimes\u003c/h3>\n\u003cp>Once a woozy electronic artist with effects-laden vocals and loops, the Canadian artist Clare Boucher underwent a more pop-oriented transformation with her latest album, \u003cem>Art Angels\u003c/em>, and it showed in her exuberant set on Friday. With smoke machines, backup dancers and an excellent band, Boucher bounced and danced around the entire stage to a crowd that gave all her energy right back.\u003c/p>\n\u003cfigure id=\"attachment_11901950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg\" alt=\"Duran Duran perform at Outside Lands. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11901950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duran Duran perform at Outside Lands. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Duran Duran\u003c/h3>\n\u003cp>Remember the ’80s? Outside Lands does too — they’ve recently taken to booking acts like Hall & Oates, and, coming this Sunday, Lionel Richie. (Will Michael McDonald be next?) In a seemingly perfectly timed late-afternoon slot, Duran Duran, led by the perpetually enigmatic Simon Le Bon, drove through a set of main-stage hits like “Hungry Like the Wolf,” “Wild Boys” and set-closer “Rio.” \u003c/p>\n\u003cfigure id=\"attachment_11903670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg\" alt=\"Beach House perform at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11903670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beach House perform at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Beach House\u003c/h3>\n\u003cp>The Baltimore duo of Victoria Legrand and Alex Scally thrive in close environments — witness their \u003ca href=\"http://ww2.kqed.org/pop/2016/04/27/beach-house-plays-exclusive-installation-show-to-200-people-sitting-on-the-floor/\" target=\"_blank\" rel=\"noopener\">intimate show at the Mission District’s Gray Area Space\u003c/a> earlier this year — so it was fitting to have them on the Sutro stage, whose naturally sculpted bowl seems to cradle the audience. Under a typically San Franciscan overcast sky, the band provided a welcome breather from the adrenaline on other stages, playing songs from their one-two 2015 album punch of \u003cem>Depression Cherry\u003c/em> and \u003cem>Thank Your Lucky Stars\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11903679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg\" alt=\"J. Cole performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11903679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Cole performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. J. Cole\u003c/h3>\n\u003cp>Despite playing at the same time as LCD Soundsystem, the rapper who \u003ca href=\"https://twitter.com/search?q=j.%20cole%20platinum%20no%20features&src=typd\" target=\"_blank\" rel=\"noopener\">went platinum with no features\u003c/a> drew a huge crowd at the Twin Peaks stage, with the unison crowd filling in bars on songs like “No Role Modelz” and “Crooked Smile.” In a white hoodie and shorts, J. Cole exemplified the wardrobe dilemma present in the crowd, as well — people either came bundled for Candlestick-proportions of fog, or barely covered in hopes of sun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands Review: Sunday’s Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Sunday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Sunday in Golden Gate Park felt like a gentle hangover from Friday and Saturday’s mayhem. Where was everybody? Maybe home in bed, because the fields were very, very sparse. For those who attended, it was a relaxing, cool-down day.\u003c/p>\n\u003cp>Check our Outside Lands recaps from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read more for Sunday’s highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo slideshow.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10890847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg\" alt=\"Elton John performing at Outside Lands on Sunday.\" width=\"640\" height=\"427\" class=\"size-large wp-image-10890847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elton John performs at Outside Lands on Aug. 9, 2015. (Photo: Wendy Goodfriend/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Elton John\u003c/h3>\n\u003cp>Elton John is an artist with a deep, deep catalog of hits, and nearly every song he started Sunday night garnered a knowing cheer from the crowd. Even if you don’t think you know his stuff, you do. Outside Lands has booked these big “legacy” headliners in the past few years — Paul McCartney, Stevie Wonder, Tom Petty — and it’s a good move, especially on closing night, and especially with someone who can get a giant field singing along to “Honky Cat,” “Benny and the Jets,” “Candle in the Wind” and so, so many others; you already essentially know the setlist and so does the rest of the world. Case in point would be the person standing next to me on Sunday, a graffiti artist who listens to rap music and has neck tattoos, and who surprised me throughout the set with lyrical prowess and obscure trivia about Elton John. He even sang harmonies on “Tiny Dancer”! Elton John is \u003cem>that\u003c/em> universal. (Also: shout out to the fan who brought a Buzz Lightyear Mylar balloon and \u003ca href=\"https://vine.co/v/ew33VODTtlL\" target=\"_blank\" rel=\"noopener\">released it into the sky during “Rocket Man.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10888736\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Sexual Chocolate\u003c/h3>\n\u003cp>In the late ’80s, saxophonist Karl Denson appeared in Eddie Murphy’s classic comedy \u003cem>Coming to America\u003c/em> as a member of a \u003ca href=\"https://www.youtube.com/watch?v=KzANAr1V82c\" target=\"_blank\" rel=\"noopener\">hilarious fictional band called Sexual Chocolate\u003c/a>. Denson’s been asked about it from fans and interviewers, over and over, for years, never living it down. So what did he do Sunday? Assembled a band clad in powder-blue tuxedos and performed as Sexual Chocolate, that’s what. While Donald Wressell from Guittard Chocolate crafted a semi-phallic sculpture to the side of the stage, lead vocalist Ziek McCarter — fresh from a gig with his band Con Brio at Stern Grove, just hours before — crooned Whitney Houston’s “Greatest Love of All,” Smokey Robinson’s “Ooh Baby Baby,” and even the over-the-top theme to the \u003ca href=\"https://www.youtube.com/watch?v=CGrasobHcKA\" target=\"_blank\" rel=\"noopener\">Soul Glo commercial\u003c/a> featured in the movie. McCarter actually hit those high notes! The whole thing was nuts.\u003c/p>\n\u003cfigure id=\"attachment_10888721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Dan Deacon\u003c/h3>\n\u003cp>Dan Deacon began his set by announcing he did mushrooms the night before, telling everyone to raise a hand to the sky, and then to imagine forcing out all their inhibitions. If you weren’t on board with this plan, he said, “the \u003ca href=\"https://www.youtube.com/watch?v=pB-5XG-DbAA\" target=\"_blank\" rel=\"noopener\">guy that steals songs from Tom Petty\u003c/a> is playing in the next field over.” Deacon’s a perfect festival act who utilizes the crowd sometimes for gigantic organized dance parties — as he did Sunday — and sometimes for licking lollipops triggered to samples on his laptop, as he did Saturday. If you want to overthink the man, he manages to tie together the conceptualism of John Cage and the spastic electronics of Squarepusher to create a wholly life-affirming experience. If you want to dance your ass off, well, he’s there for you, too. \u003ca href=\"https://instagram.com/p/6L0CXCSSRC/\" target=\"_blank\" rel=\"noopener\">Watch his crowd go from zero to lit in 10 seconds flat here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10888734,10888737,10888729,10888727,10888736,10888720,10888719,10888728,10888731,10888721,10888722,10888723,10888724,10888725,10888726,10888730,10888732,10888718,10888733,10888735\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday in Golden Gate Park felt like a gentle hangover from Friday and Saturday’s mayhem. Where was everybody? Maybe home in bed, because the fields were very, very sparse. For those who attended, it was a relaxing, cool-down day.\u003c/p>\n\u003cp>Check our Outside Lands recaps from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read more for Sunday’s highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo slideshow.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10890847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg\" alt=\"Elton John performing at Outside Lands on Sunday.\" width=\"640\" height=\"427\" class=\"size-large wp-image-10890847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elton John performs at Outside Lands on Aug. 9, 2015. (Photo: Wendy Goodfriend/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Elton John\u003c/h3>\n\u003cp>Elton John is an artist with a deep, deep catalog of hits, and nearly every song he started Sunday night garnered a knowing cheer from the crowd. Even if you don’t think you know his stuff, you do. Outside Lands has booked these big “legacy” headliners in the past few years — Paul McCartney, Stevie Wonder, Tom Petty — and it’s a good move, especially on closing night, and especially with someone who can get a giant field singing along to “Honky Cat,” “Benny and the Jets,” “Candle in the Wind” and so, so many others; you already essentially know the setlist and so does the rest of the world. Case in point would be the person standing next to me on Sunday, a graffiti artist who listens to rap music and has neck tattoos, and who surprised me throughout the set with lyrical prowess and obscure trivia about Elton John. He even sang harmonies on “Tiny Dancer”! Elton John is \u003cem>that\u003c/em> universal. (Also: shout out to the fan who brought a Buzz Lightyear Mylar balloon and \u003ca href=\"https://vine.co/v/ew33VODTtlL\" target=\"_blank\" rel=\"noopener\">released it into the sky during “Rocket Man.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10888736\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Sexual Chocolate\u003c/h3>\n\u003cp>In the late ’80s, saxophonist Karl Denson appeared in Eddie Murphy’s classic comedy \u003cem>Coming to America\u003c/em> as a member of a \u003ca href=\"https://www.youtube.com/watch?v=KzANAr1V82c\" target=\"_blank\" rel=\"noopener\">hilarious fictional band called Sexual Chocolate\u003c/a>. Denson’s been asked about it from fans and interviewers, over and over, for years, never living it down. So what did he do Sunday? Assembled a band clad in powder-blue tuxedos and performed as Sexual Chocolate, that’s what. While Donald Wressell from Guittard Chocolate crafted a semi-phallic sculpture to the side of the stage, lead vocalist Ziek McCarter — fresh from a gig with his band Con Brio at Stern Grove, just hours before — crooned Whitney Houston’s “Greatest Love of All,” Smokey Robinson’s “Ooh Baby Baby,” and even the over-the-top theme to the \u003ca href=\"https://www.youtube.com/watch?v=CGrasobHcKA\" target=\"_blank\" rel=\"noopener\">Soul Glo commercial\u003c/a> featured in the movie. McCarter actually hit those high notes! The whole thing was nuts.\u003c/p>\n\u003cfigure id=\"attachment_10888721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Dan Deacon\u003c/h3>\n\u003cp>Dan Deacon began his set by announcing he did mushrooms the night before, telling everyone to raise a hand to the sky, and then to imagine forcing out all their inhibitions. If you weren’t on board with this plan, he said, “the \u003ca href=\"https://www.youtube.com/watch?v=pB-5XG-DbAA\" target=\"_blank\" rel=\"noopener\">guy that steals songs from Tom Petty\u003c/a> is playing in the next field over.” Deacon’s a perfect festival act who utilizes the crowd sometimes for gigantic organized dance parties — as he did Sunday — and sometimes for licking lollipops triggered to samples on his laptop, as he did Saturday. If you want to overthink the man, he manages to tie together the conceptualism of John Cage and the spastic electronics of Squarepusher to create a wholly life-affirming experience. If you want to dance your ass off, well, he’s there for you, too. \u003ca href=\"https://instagram.com/p/6L0CXCSSRC/\" target=\"_blank\" rel=\"noopener\">Watch his crowd go from zero to lit in 10 seconds flat here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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