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"title": "Outside Lands 2016: Sunday's Music Highlights and Photo Gallery",
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"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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"description": "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.",
"title": "Outside Lands 2016: Sunday's Music Highlights and Photo Gallery | KQED",
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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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"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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"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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"title": "Outside Lands Review: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Saturday at Outside Lands is always busier, crazier and more extreme in just about every way than either Friday or Sunday, and this year was no exception. As for the crowd, we witnessed more rule-breakers, gate-crashers, and people using Golden Gate Park’s lush landscape to shield a variety of salacious activities than ever; we also saw huge surges of communal joy, good-Samaritan acts toward strangers, and 70,000 people becoming greater than the sum of their parts.\u003c/p>\n\u003cp>The music reflected this. Check our \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday recap here\u003c/a>, and read on for what mattered on Outside Lands’ stages Saturday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886965\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886965\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED) \u003ccite>(Gabe Mel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Kendrick Lamar\u003c/h3>\n\u003cp>History will not be kind to the scheduling of \u003ca href=\"http://www.dailymotion.com/video/xg4m3s_subaru-legacy-puddles-tv-commercial_auto\" target=\"_blank\" rel=\"noopener\">professional Subaru salesmen\u003c/a> the Black Keys on Outside Lands’ main stage in the same time slot as Kendrick Lamar — heir to West Coast hip-hop’s throne, foregone victor of Album of the Year for \u003cem>To Pimp a Butterfly\u003c/em> — relegated to the second stage. But honestly, though it was crowded, the whole we’re-all-in-tight-together thing just felt \u003cem>right\u003c/em>. Kendrick turned in a festival-friendly set lopsided toward sure shots from his sophomore breakthrough \u003cem>good Kid, m.A.A.d. city\u003c/em> — “Swimming Pools,” “Backseat Freestyle,” “Bitch Don’t Kill My Vibe,” “Sing About Me, I’m Dying of Thirst” — which felt, for the first hour, slightly like a missed opportunity to challenge minds on a massive scale by dipping into the \u003ca href=\"http://pitchfork.com/reviews/albums/20390-to-pimp-a-butterfly/\" target=\"_blank\" rel=\"noopener\">highly politicized, musically experimental\u003c/a> material from his new album. But Kendrick’s smarter than that; no one wants to hear \u003ca href=\"https://www.youtube.com/watch?v=e5Ri76UodWM\" target=\"_blank\" rel=\"noopener\">tortured, drunken, crying poetry\u003c/a> at a festival. And so the three songs that came late in the set from \u003cem>To Pimp a Butterfly\u003c/em> were the obvious, accessible choices: “i,” “King Kunta,” and “Alright.” And you know what? By their universal nature, they brought the whole 30,000-strong hollow together at a time when \u003ca href=\"http://www.theroot.com/articles/news/2015/08/police_facebook_group_mocks_death_of_michael_brown.html\" target=\"_blank\" rel=\"noopener\">we could sure use a little more unity\u003c/a>. For set closer “Alright,” the large-scale video footage switched to scenes shot on Treasure Island as a California flag waved above the crowd. After a long biographical spoken-word interlude about overcoming adversity, Kendrick dedicated the song to a guy crowd-surfing… \u003cem>in a wheelchair\u003c/em>. We gon’ be alright, indeed. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886218\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg\" alt=\"Billy Idol performs at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Billy Idol performs at Outside Lands. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Billy Idol\u003c/h3>\n\u003cp>Yeah, Billy Idol is nearly a caricature at this point, but he’s an oddly lovable one. The curled lip and tough-guy posturing is easy to poke fun at, but can anyone successfully mock “\u003ca href=\"https://www.youtube.com/watch?v=BKmldYSDJaM\" target=\"_blank\" rel=\"noopener\">Eyes Without a Face\u003c/a>”? Good luck; the song is invincible. “Dancing With Myself”? Stands all tests of time. Even Idol’s cornier themes like “Flesh for Fantasy,” as he showed Saturday, hold up well. The major downside to Idol’s set was the criminal absence of “\u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Kiss Me Deadly\u003c/a>,” the greatest song about living on the streets of London ever written — just this beautiful, Springsteen-esque anthem of poverty and loneliness and teenage recklessness. \u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Listen to it here\u003c/a> as played by Idol’s early band Generation X, and then ask yourself why in the world Billy Idol would not simply play this song at every single show he ever plays. Instead, he closed with “Rebel Yell” and “White Wedding,” and everyone loved it, but alas. At least he represented Generation X’s stellar debut album with “Ready Steady Go.” Bonus: Billy Idol still has that signature snarl, and his band looks exactly like you’d imagine them to look; see slideshow below. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886223\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg\" alt=\"Big Freedia at GastroMagic at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia at GastroMagic at Outside Lands.\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Big Freedia\u003c/h3>\n\u003cp>It’s easy to feel down in an environment permeated by corporate sheen and overly targeted marketing — and that’s exactly when you should make your way over to wherever Big Freedia is, because Big Freedia is the antidote. What other artist can whip the crowd into a pure, visceral, ass-shaking frenzy, then calmly hand out fresh beignets from nearby trays — because this a tie-in with Brenda’s French Soul Food, you see — without missing a single glorious twerk-beat? If last summer’s relatively smoothed-out album \u003cem>Just Be Free\u003c/em> was intended to carry the Queen Diva of Bounce over the mainstream threshold, it’s reassuring to find that it wasn’t at the expense of the fantastically frenetic style which earned Freedia her loyal fans in the first place. She was magnetic above all else, lunging around a too-small stage with a graceful ferocity and conducting a constant stream of booty-moving from both her backup dancers and stage-crashing audience members. Say what you will about the homogeny of the mainstream music landscape in 2015, but the fact that someone like Freedia thrives with the kids (and it was a young, \u003cem>amped\u003c/em> crowd) is about as encouraging as it gets.\u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Tame Impala\u003c/h3>\n\u003cp>Tame Impala’s ascent has arguably relied upon songwriter/producer Kevin Parker’s ability to satisfy his own curiosity while still conjuring a sound that lands squarely in the middle of some touchy Venn diagrams: The Australian wunderkind makes psych-rock for people who roll their eyes at psych-rock, and electronic music for people who don’t think they like electronic music. Live, there’s the added challenge of translating a highly solitary recording experience into a bass-booming, head-nodding, stoner-accessible five-piece dance party. By that metric, Tame Impala took the Outside Lands main stage by the hand and led it into a wholly entertaining, self-assured mating ritual last night, playing nearly all the way through their new, critically lauded album \u003cem>Currents\u003c/em>. If there’s something fundamentally uninteresting about synth-driven music played at a festival scale by five dorky guys when it’s not even dark yet — even at their most animated, electronic fireworks are just not as exciting a live experience as guitar or drum fireworks, etc., no matter how many screensaver-trippy visuals you project onto a screen behind them — the gents make up for it by being just that endearingly dorky. “You look beautiful out there,” said Parker to the adoring hordes near the end of the set. “I felt awful when I woke up today, and you guys have really turned it around.” Do go on, Parker. We’d bet a healthy number of casual fans left devotees. \u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886976\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10886976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Negrito.jpg\" alt=\"Fantastic Negrito.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito.\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Support for Fantastic Negrito\u003c/h3>\n\u003cp>We’d have loved to include a midday set by Oakland’s own Fantastic Negrito in this roundup, but under highly questionable circumstances, his set was canceled. Instead of performing onstage as a victory lap for his NPR Tiny Desk Concert contest win, Fantastic Negrito — born Xavier Dphrepaulezz — sat for a reported three hours on Saturday in the back of an SFPD van, detained and handcuffed. The reason? It turns out a young intern of Negrito’s decided to sell an extra artist wristband for the festival on Craigslist, and was located by police outside the festival on the sidewalk, where he and two others, including Negrito, were detained — despite the intern reportedly admitting from the onset that he’d acted alone in scalping the wristband. Several news outlets picked up the story, both from the police department’s point of view \u003ca href=\"http://www.sfgate.com/bayarea/article/Fantastic-Negrito-s-Outside-Lands-show-canceled-6433539.php\" target=\"_blank\" rel=\"noopener\">in the \u003cem>Chronicle\u003c/em>\u003c/a> and Dphrepaulezz’s point of view \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/08/09/fantastic-negrito-detained-by-sfpd-on-questionable-grounds-at-outside-lands\" target=\"_blank\" rel=\"noopener\">in the \u003cem>East Bay Express\u003c/em>\u003c/a>, but the looming question regards festival organizers’ collusion with SFPD over the detention, \u003ca href=\"http://www.mercurynews.com/breaking-news/ci_28609911/oakland-musician-says-he-was-handcuffed-detained-by\" target=\"_blank\" rel=\"noopener\">reported in the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>, and the fact that the municipal code cited \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/630180785341923329\" target=\"_blank\" rel=\"noopener\">doesn’t actually apply to online sales\u003c/a>, or that illegal scalping remains rampant outside the festival gates. The upside to all this is that the story flew around social media all day, with Fantastic Negrito’s many fans showing support. At one point, a frustrated but gratified Dphrepaulezz \u003ca href=\"https://twitter.com/MusicNegrito/status/630193030998286337\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>: “I owe y’all a free concert on the steps of the SFPD station.” \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10886956,10886957,10886958,10886960,10886961,10886962,10886963,10886964,10886965,10886966,10886967,10886968,10886969,10886970,10886971,10886972,10886974,10886223,10886220,10886218\"]\u003c/p>\n\n",
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"excerpt": "Saturday in Golden Gate Park was bigger and crazier than ever -- reflected in a beignet-fueled booty-shaking fest, a questionable detention by SFPD, and a stellar set by Kendrick Lamar.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday at Outside Lands is always busier, crazier and more extreme in just about every way than either Friday or Sunday, and this year was no exception. As for the crowd, we witnessed more rule-breakers, gate-crashers, and people using Golden Gate Park’s lush landscape to shield a variety of salacious activities than ever; we also saw huge surges of communal joy, good-Samaritan acts toward strangers, and 70,000 people becoming greater than the sum of their parts.\u003c/p>\n\u003cp>The music reflected this. Check our \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday recap here\u003c/a>, and read on for what mattered on Outside Lands’ stages Saturday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886965\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886965\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED) \u003ccite>(Gabe Mel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Kendrick Lamar\u003c/h3>\n\u003cp>History will not be kind to the scheduling of \u003ca href=\"http://www.dailymotion.com/video/xg4m3s_subaru-legacy-puddles-tv-commercial_auto\" target=\"_blank\" rel=\"noopener\">professional Subaru salesmen\u003c/a> the Black Keys on Outside Lands’ main stage in the same time slot as Kendrick Lamar — heir to West Coast hip-hop’s throne, foregone victor of Album of the Year for \u003cem>To Pimp a Butterfly\u003c/em> — relegated to the second stage. But honestly, though it was crowded, the whole we’re-all-in-tight-together thing just felt \u003cem>right\u003c/em>. Kendrick turned in a festival-friendly set lopsided toward sure shots from his sophomore breakthrough \u003cem>good Kid, m.A.A.d. city\u003c/em> — “Swimming Pools,” “Backseat Freestyle,” “Bitch Don’t Kill My Vibe,” “Sing About Me, I’m Dying of Thirst” — which felt, for the first hour, slightly like a missed opportunity to challenge minds on a massive scale by dipping into the \u003ca href=\"http://pitchfork.com/reviews/albums/20390-to-pimp-a-butterfly/\" target=\"_blank\" rel=\"noopener\">highly politicized, musically experimental\u003c/a> material from his new album. But Kendrick’s smarter than that; no one wants to hear \u003ca href=\"https://www.youtube.com/watch?v=e5Ri76UodWM\" target=\"_blank\" rel=\"noopener\">tortured, drunken, crying poetry\u003c/a> at a festival. And so the three songs that came late in the set from \u003cem>To Pimp a Butterfly\u003c/em> were the obvious, accessible choices: “i,” “King Kunta,” and “Alright.” And you know what? By their universal nature, they brought the whole 30,000-strong hollow together at a time when \u003ca href=\"http://www.theroot.com/articles/news/2015/08/police_facebook_group_mocks_death_of_michael_brown.html\" target=\"_blank\" rel=\"noopener\">we could sure use a little more unity\u003c/a>. For set closer “Alright,” the large-scale video footage switched to scenes shot on Treasure Island as a California flag waved above the crowd. After a long biographical spoken-word interlude about overcoming adversity, Kendrick dedicated the song to a guy crowd-surfing… \u003cem>in a wheelchair\u003c/em>. We gon’ be alright, indeed. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886218\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg\" alt=\"Billy Idol performs at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Billy Idol performs at Outside Lands. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Billy Idol\u003c/h3>\n\u003cp>Yeah, Billy Idol is nearly a caricature at this point, but he’s an oddly lovable one. The curled lip and tough-guy posturing is easy to poke fun at, but can anyone successfully mock “\u003ca href=\"https://www.youtube.com/watch?v=BKmldYSDJaM\" target=\"_blank\" rel=\"noopener\">Eyes Without a Face\u003c/a>”? Good luck; the song is invincible. “Dancing With Myself”? Stands all tests of time. Even Idol’s cornier themes like “Flesh for Fantasy,” as he showed Saturday, hold up well. The major downside to Idol’s set was the criminal absence of “\u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Kiss Me Deadly\u003c/a>,” the greatest song about living on the streets of London ever written — just this beautiful, Springsteen-esque anthem of poverty and loneliness and teenage recklessness. \u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Listen to it here\u003c/a> as played by Idol’s early band Generation X, and then ask yourself why in the world Billy Idol would not simply play this song at every single show he ever plays. Instead, he closed with “Rebel Yell” and “White Wedding,” and everyone loved it, but alas. At least he represented Generation X’s stellar debut album with “Ready Steady Go.” Bonus: Billy Idol still has that signature snarl, and his band looks exactly like you’d imagine them to look; see slideshow below. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886223\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg\" alt=\"Big Freedia at GastroMagic at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia at GastroMagic at Outside Lands.\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Big Freedia\u003c/h3>\n\u003cp>It’s easy to feel down in an environment permeated by corporate sheen and overly targeted marketing — and that’s exactly when you should make your way over to wherever Big Freedia is, because Big Freedia is the antidote. What other artist can whip the crowd into a pure, visceral, ass-shaking frenzy, then calmly hand out fresh beignets from nearby trays — because this a tie-in with Brenda’s French Soul Food, you see — without missing a single glorious twerk-beat? If last summer’s relatively smoothed-out album \u003cem>Just Be Free\u003c/em> was intended to carry the Queen Diva of Bounce over the mainstream threshold, it’s reassuring to find that it wasn’t at the expense of the fantastically frenetic style which earned Freedia her loyal fans in the first place. She was magnetic above all else, lunging around a too-small stage with a graceful ferocity and conducting a constant stream of booty-moving from both her backup dancers and stage-crashing audience members. Say what you will about the homogeny of the mainstream music landscape in 2015, but the fact that someone like Freedia thrives with the kids (and it was a young, \u003cem>amped\u003c/em> crowd) is about as encouraging as it gets.\u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Tame Impala\u003c/h3>\n\u003cp>Tame Impala’s ascent has arguably relied upon songwriter/producer Kevin Parker’s ability to satisfy his own curiosity while still conjuring a sound that lands squarely in the middle of some touchy Venn diagrams: The Australian wunderkind makes psych-rock for people who roll their eyes at psych-rock, and electronic music for people who don’t think they like electronic music. Live, there’s the added challenge of translating a highly solitary recording experience into a bass-booming, head-nodding, stoner-accessible five-piece dance party. By that metric, Tame Impala took the Outside Lands main stage by the hand and led it into a wholly entertaining, self-assured mating ritual last night, playing nearly all the way through their new, critically lauded album \u003cem>Currents\u003c/em>. If there’s something fundamentally uninteresting about synth-driven music played at a festival scale by five dorky guys when it’s not even dark yet — even at their most animated, electronic fireworks are just not as exciting a live experience as guitar or drum fireworks, etc., no matter how many screensaver-trippy visuals you project onto a screen behind them — the gents make up for it by being just that endearingly dorky. “You look beautiful out there,” said Parker to the adoring hordes near the end of the set. “I felt awful when I woke up today, and you guys have really turned it around.” Do go on, Parker. We’d bet a healthy number of casual fans left devotees. \u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886976\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10886976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Negrito.jpg\" alt=\"Fantastic Negrito.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito.\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Support for Fantastic Negrito\u003c/h3>\n\u003cp>We’d have loved to include a midday set by Oakland’s own Fantastic Negrito in this roundup, but under highly questionable circumstances, his set was canceled. Instead of performing onstage as a victory lap for his NPR Tiny Desk Concert contest win, Fantastic Negrito — born Xavier Dphrepaulezz — sat for a reported three hours on Saturday in the back of an SFPD van, detained and handcuffed. The reason? It turns out a young intern of Negrito’s decided to sell an extra artist wristband for the festival on Craigslist, and was located by police outside the festival on the sidewalk, where he and two others, including Negrito, were detained — despite the intern reportedly admitting from the onset that he’d acted alone in scalping the wristband. Several news outlets picked up the story, both from the police department’s point of view \u003ca href=\"http://www.sfgate.com/bayarea/article/Fantastic-Negrito-s-Outside-Lands-show-canceled-6433539.php\" target=\"_blank\" rel=\"noopener\">in the \u003cem>Chronicle\u003c/em>\u003c/a> and Dphrepaulezz’s point of view \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/08/09/fantastic-negrito-detained-by-sfpd-on-questionable-grounds-at-outside-lands\" target=\"_blank\" rel=\"noopener\">in the \u003cem>East Bay Express\u003c/em>\u003c/a>, but the looming question regards festival organizers’ collusion with SFPD over the detention, \u003ca href=\"http://www.mercurynews.com/breaking-news/ci_28609911/oakland-musician-says-he-was-handcuffed-detained-by\" target=\"_blank\" rel=\"noopener\">reported in the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>, and the fact that the municipal code cited \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/630180785341923329\" target=\"_blank\" rel=\"noopener\">doesn’t actually apply to online sales\u003c/a>, or that illegal scalping remains rampant outside the festival gates. The upside to all this is that the story flew around social media all day, with Fantastic Negrito’s many fans showing support. At one point, a frustrated but gratified Dphrepaulezz \u003ca href=\"https://twitter.com/MusicNegrito/status/630193030998286337\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>: “I owe y’all a free concert on the steps of the SFPD station.” \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands Review: Friday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>With dense crowds, long lines and weather that can turn on even the most well-prepared, why would anyone go to Outside Lands? The answer, of course, is the music, which in its breadth and sometimes \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">overwhelming plenty\u003c/a>, never disappoints us.\u003c/p>\n\u003cp>While our KQED colleagues over at \u003ca href=\"http://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2015/08/08/foodie-guide-to-outside-lands-2015/\" target=\"_blank\" rel=\"noopener\">run-down of this year’s best food offerings\u003c/a>, here’s what resonated with us onstage at Friday’s opening day for this year’s Outside Lands.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday’s recap here\u003c/a>, and \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10885111\" 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.DAngeloMic-1180x787.jpg\" alt=\"D'Angelo. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. D’Angelo\u003c/h3>\n\u003cp>After a 14-year hiatus, the soul visionary and notorious recluse finally emerged from hiding, and damn, did he bring the goods. For those unable to catch his sold-out-in-seconds show at the Fox Theater in Oakland earlier this year, D’Angelo’s set at Outside Lands was a swampy, jubilant salve, backed by a 10-piece band. When we managed to take our focus off the man himself — D’Angelo could clip his fingernails onstage and it’d be mesmerizing — we gawked at bassist supreme Pino Palladino, blazing guitarist Jesse Johnson or the thousands in the crowd grinding, gyrating or just stone-cold making out. Save for “Brown Sugar,” the set pulled entirely from D’Angelo’s new album \u003cem>Black Messiah\u003c/em>, and not a nod at all to 2000’s \u003cem>Voodoo\u003c/em> or its biggest hit, “Untitled (How Does It Feel?),” which the teeming field clearly wanted as an encore. Leave ’em wanting more, the saying goes; D’Angelo could have played for three hours and never lost the crowd. \u003c/p>\n\u003cfigure id=\"attachment_10885104\" 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.StVincent-1180x787.jpg\" alt=\"St. Vincent. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. St. Vincent\u003c/h3>\n\u003cp>Still riding the crest of last year’s excellent \u003cem>St. Vincent\u003c/em>, Annie Clark emerged from the wings in a black jumpsuit that looked as if it’d been rototilled. She then proceeded to rototill the entire Polo Field with jarring rhythms, reaching-for-the-heavens melodies and a backing band that worked alternately like an industrial scythe and a Moroccan snake ritual. As the nation’s collectively dropped jaws can attest, Clark’s angular guitar solos are a dazzling thing in and of themselves; when paired with her excellent band and intricate songwriting, they become eruptive. Year after year, she puts out great records and yet is still reduced to \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3190241/Cara-Delevingne-s-girlfriend-St-Vincent-shows-incredible-physique-plunging-leather-jumpsuit-performs-Outside-Lands-Festival.html\" target=\"_blank\" rel=\"noopener\">garbage headlines like this which ignore her music entirely\u003c/a>; there’s no way anyone who saw her Friday left talking about anything but. \u003c/p>\n\u003cfigure id=\"attachment_10885105\" 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.TigNotaro-1180x787.jpg\" alt=\"Tig Notaro. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tig Notaro. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Tig Notaro\u003c/h3>\n\u003cp>Bands, bands, bands. At least once during the weekend each year, a trip to the comedy tent is recommended to change up the pace. Tig Notaro, a brilliant master of timing and deprecation, changes the pace wherever she goes. After a stellar opening set by James Adomian (his Louis C.K. impression was eerily precise), and a complete bomb of a set by Andy Kindler from \u003cem>Everybody Loves Raymond\u003c/em>, Notaro made masterpieces of misfortune. After promising that “I don’t typically talk about things that are upsetting to people” — counter to the fact that her most famous performance was about having cancer, being dumped and her mother dying — someone shouted “Liar!” Taking the cue, Notaro continued: “So I want to tell you about a time when I should have been molested, but then I wasn’t.” Everybody laughed, but she wasn’t kidding: she told the story — and it was \u003cem>hilarious\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885092\" 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.AmonTobin-1180x787.jpg\" alt=\"Amon Tobin. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amon Tobin. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Amon Tobin\u003c/h3>\n\u003cp>There are plenty of works of art throughout the festival grounds (shout out to KQED’s own Kristin Farr, whose designs \u003ca href=\"https://instagram.com/p/6GJAAapASJ/\" target=\"_blank\" rel=\"noopener\">flank the Sutro stage\u003c/a> this year) and with nine new large murals created on-site each year, Outside Lands has amassed an impressive collection. But the biggest piece of art on Friday was Brazilian producer Amon Tobin’s gigantic \u003cem>ISAM 2.0\u003c/em> stage set, a cubist sprawl that’s reminiscent of the \u003ca href=\"http://www.sfgate.com/default/article/A-taste-of-Temko-his-take-on-6-S-F-buildings-3163489.php\" target=\"_blank\" rel=\"noopener\">excrement-deposited-by-a-giant-concrete-dog-with-square-intestines\u003c/a> Vaillancourt Fountain in the Embarcadero. With dizzying landscapes and patterns projected in 3D upon its surface, and with Tobin housed inside performing a cross-pollination of EDM and the suicide nets at Foxconn, the set is legendary in electronic-music circles, but intriguing enough to the casual passerby. When I \u003ca href=\"http://citysound.bohemian.com/2011/10/02/live-review-amon-tobin-isam-at-the-warfield/\" target=\"_blank\" rel=\"noopener\">saw it at the Warfield in 2011\u003c/a>, I surmised that it belongs in a museum. The assessment stands.\u003c/p>\n\u003cfigure id=\"attachment_10885100\" 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.LindseyStirling-1180x787.jpg\" alt=\"Lindsey Stirling. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Stirling. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lindsey Stirling\u003c/h3>\n\u003cp>A chipper, vivacious and semi-confusing \u003cem>Lord of the Dance\u003c/em> for the seapunk generation, Lindsey Stirling kicked and twirled her way into the hearts of the crowd Friday afternoon. Stirling is a YouTube violin sensation who plays a manic sort of Celtic-inspired fiddle, flanked by four backup dancers and various props (e.g., a tombstone bearing the name of Piers Morgan). Though repetitive, her set provided a welcome respite from the hordes of unshaven guitar-slinging mopes with lovelorn choruses and vintage tube amps so plentiful at any music festival. A \u003cem>Riverdance\u003c/em> revival with pink hair, a pirate chest, a pantomime of a sailing ship and a death wish for boorish race-baiting late-night hosts? Sign me up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10885104,10885099,10885094,10885100,10884501,10885103,10885111,10885101,10884504,10884497,10884506,10885105,10885102,10885095,10885098,10885097,10885093,10884512,10885092,10884510,10884502,10885096, 10884492,10884499,10885106\"]\u003c/p>\n\n",
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"excerpt": "A neo-soul genius, a seapunk 'Riverdance' revival, a guitar goddess and more dot our list of Friday's Outside Lands highlights and photos.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With dense crowds, long lines and weather that can turn on even the most well-prepared, why would anyone go to Outside Lands? The answer, of course, is the music, which in its breadth and sometimes \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">overwhelming plenty\u003c/a>, never disappoints us.\u003c/p>\n\u003cp>While our KQED colleagues over at \u003ca href=\"http://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2015/08/08/foodie-guide-to-outside-lands-2015/\" target=\"_blank\" rel=\"noopener\">run-down of this year’s best food offerings\u003c/a>, here’s what resonated with us onstage at Friday’s opening day for this year’s Outside Lands.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday’s recap here\u003c/a>, and \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10885111\" 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.DAngeloMic-1180x787.jpg\" alt=\"D'Angelo. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. D’Angelo\u003c/h3>\n\u003cp>After a 14-year hiatus, the soul visionary and notorious recluse finally emerged from hiding, and damn, did he bring the goods. For those unable to catch his sold-out-in-seconds show at the Fox Theater in Oakland earlier this year, D’Angelo’s set at Outside Lands was a swampy, jubilant salve, backed by a 10-piece band. When we managed to take our focus off the man himself — D’Angelo could clip his fingernails onstage and it’d be mesmerizing — we gawked at bassist supreme Pino Palladino, blazing guitarist Jesse Johnson or the thousands in the crowd grinding, gyrating or just stone-cold making out. Save for “Brown Sugar,” the set pulled entirely from D’Angelo’s new album \u003cem>Black Messiah\u003c/em>, and not a nod at all to 2000’s \u003cem>Voodoo\u003c/em> or its biggest hit, “Untitled (How Does It Feel?),” which the teeming field clearly wanted as an encore. Leave ’em wanting more, the saying goes; D’Angelo could have played for three hours and never lost the crowd. \u003c/p>\n\u003cfigure id=\"attachment_10885104\" 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.StVincent-1180x787.jpg\" alt=\"St. Vincent. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. St. Vincent\u003c/h3>\n\u003cp>Still riding the crest of last year’s excellent \u003cem>St. Vincent\u003c/em>, Annie Clark emerged from the wings in a black jumpsuit that looked as if it’d been rototilled. She then proceeded to rototill the entire Polo Field with jarring rhythms, reaching-for-the-heavens melodies and a backing band that worked alternately like an industrial scythe and a Moroccan snake ritual. As the nation’s collectively dropped jaws can attest, Clark’s angular guitar solos are a dazzling thing in and of themselves; when paired with her excellent band and intricate songwriting, they become eruptive. Year after year, she puts out great records and yet is still reduced to \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3190241/Cara-Delevingne-s-girlfriend-St-Vincent-shows-incredible-physique-plunging-leather-jumpsuit-performs-Outside-Lands-Festival.html\" target=\"_blank\" rel=\"noopener\">garbage headlines like this which ignore her music entirely\u003c/a>; there’s no way anyone who saw her Friday left talking about anything but. \u003c/p>\n\u003cfigure id=\"attachment_10885105\" 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.TigNotaro-1180x787.jpg\" alt=\"Tig Notaro. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tig Notaro. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Tig Notaro\u003c/h3>\n\u003cp>Bands, bands, bands. At least once during the weekend each year, a trip to the comedy tent is recommended to change up the pace. Tig Notaro, a brilliant master of timing and deprecation, changes the pace wherever she goes. After a stellar opening set by James Adomian (his Louis C.K. impression was eerily precise), and a complete bomb of a set by Andy Kindler from \u003cem>Everybody Loves Raymond\u003c/em>, Notaro made masterpieces of misfortune. After promising that “I don’t typically talk about things that are upsetting to people” — counter to the fact that her most famous performance was about having cancer, being dumped and her mother dying — someone shouted “Liar!” Taking the cue, Notaro continued: “So I want to tell you about a time when I should have been molested, but then I wasn’t.” Everybody laughed, but she wasn’t kidding: she told the story — and it was \u003cem>hilarious\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885092\" 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.AmonTobin-1180x787.jpg\" alt=\"Amon Tobin. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amon Tobin. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Amon Tobin\u003c/h3>\n\u003cp>There are plenty of works of art throughout the festival grounds (shout out to KQED’s own Kristin Farr, whose designs \u003ca href=\"https://instagram.com/p/6GJAAapASJ/\" target=\"_blank\" rel=\"noopener\">flank the Sutro stage\u003c/a> this year) and with nine new large murals created on-site each year, Outside Lands has amassed an impressive collection. But the biggest piece of art on Friday was Brazilian producer Amon Tobin’s gigantic \u003cem>ISAM 2.0\u003c/em> stage set, a cubist sprawl that’s reminiscent of the \u003ca href=\"http://www.sfgate.com/default/article/A-taste-of-Temko-his-take-on-6-S-F-buildings-3163489.php\" target=\"_blank\" rel=\"noopener\">excrement-deposited-by-a-giant-concrete-dog-with-square-intestines\u003c/a> Vaillancourt Fountain in the Embarcadero. With dizzying landscapes and patterns projected in 3D upon its surface, and with Tobin housed inside performing a cross-pollination of EDM and the suicide nets at Foxconn, the set is legendary in electronic-music circles, but intriguing enough to the casual passerby. When I \u003ca href=\"http://citysound.bohemian.com/2011/10/02/live-review-amon-tobin-isam-at-the-warfield/\" target=\"_blank\" rel=\"noopener\">saw it at the Warfield in 2011\u003c/a>, I surmised that it belongs in a museum. The assessment stands.\u003c/p>\n\u003cfigure id=\"attachment_10885100\" 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.LindseyStirling-1180x787.jpg\" alt=\"Lindsey Stirling. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Stirling. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lindsey Stirling\u003c/h3>\n\u003cp>A chipper, vivacious and semi-confusing \u003cem>Lord of the Dance\u003c/em> for the seapunk generation, Lindsey Stirling kicked and twirled her way into the hearts of the crowd Friday afternoon. Stirling is a YouTube violin sensation who plays a manic sort of Celtic-inspired fiddle, flanked by four backup dancers and various props (e.g., a tombstone bearing the name of Piers Morgan). Though repetitive, her set provided a welcome respite from the hordes of unshaven guitar-slinging mopes with lovelorn choruses and vintage tube amps so plentiful at any music festival. A \u003cem>Riverdance\u003c/em> revival with pink hair, a pirate chest, a pantomime of a sailing ship and a death wish for boorish race-baiting late-night hosts? Sign me up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How to Survive Outside Lands: A Veteran's Guide",
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"content": "\u003cp>“Surviving \u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>?” my friend asks me, incredulously. “The only way to survive three days of loud music, hot weather and hordes of people is to \u003cem>not go\u003c/em> to Outside Lands.”\u003c/p>\n\u003cp>It’s a common misconception, the idea that huge music festivals are for teenagers with boundless energy and a bottomless capacity for indulgence. But even if, like me, you’re not exactly a spring chicken anymore, there are ways to spend three days in Golden Gate Park this weekend, see great performers, and get out of there alive.\u003c/p>\n\u003cp>Take it from someone who’s been at Outside Lands every year since its inception. Here’s what I’ve learned in the last decade.\u003c/p>\n\u003ch4>Getting There\u003c/h4>\n\u003cp>There’s only been a couple years I actually parked in the neighborhood, and even then, it was an eight-block, hilly walk to the park. One year I fought the crowds on MUNI, waiting in a huge throng to squeeze onto a packed bus. Neither were ideal. And Uber’s \u003ca href=\"https://archives.sfweekly.com/thesnitch/2014/08/11/uber-charges-up-to-290-per-ride-at-outside-lands\" target=\"_blank\" rel=\"noopener\">“surge pricing” for the festival\u003c/a> is insane.\u003c/p>\n\u003cp>Easily the best way to get to Outside Lands is to take that clunky old 10-speed, throw it in your trunk with a bungee cord, park for free near Ocean Beach and \u003cstrong>ride your bike in\u003c/strong>. This way you can pick up any provisions you’ve forgotten (and cheap sandwiches!) at the supermarket \u003cem>and\u003c/em> say hi to \u003ca href=\"http://openplac.es/trips/bison-in-golden-gate-park-san-francisco\" target=\"_blank\" rel=\"noopener\">the buffalo\u003c/a> along the way. And at the end of the long day, it’s a downhill ride all the way to your car, with no traffic getting out. Easy.\u003c/p>\n\u003cfigure id=\"attachment_10139935\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg\" alt=\"\" width=\"500\" height=\"724\" class=\"size-full wp-image-10139935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-207x300.jpg 207w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One word, folks: layers.\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Wear\u003c/h4>\n\u003cp>Clothes-wise, a music festival is like snow skiing — you’re gonna have to set aside delusions of fashion for optimal functionality. Don’t try to wind up on a “15 Sexiest Outfits from Outside Lands (NSFW)” clickbait list. Realize that the fog rolls in. Remember that you will get dusty. Be prepared to walk between stages, logging multiple miles each day. There’s no shame in looking like a Kirkland model from the Costco catalog if it’ll keep you comfortable. Rock those lame-looking tennis shoes, man. Put on an A’s hat. And yes: wear sunscreen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Important: In 2018, the festival began a \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">very restrictive bag policy\u003c/a>. Similar to the NFL’s \u003ca href=\"https://www.xojane.com/sports/the-nfls-new-bag-policy-is-just-plain-stupid\" rel=\"noopener\" target=\"_blank\">widely criticized\u003c/a> bag policy, it requires you to bring a clear, transparent bag in place of a purse, backpack or messenger bag. Read up on it \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>, and be prepared. (I don’t know where the hell to buy a clear backpack, sorry.)\u003c/p>\n\u003ch4>Where to Watch\u003c/h4>\n\u003cp>The best vantage point at each stage varies depending on your taste, but here’s what I recommend. At the large \u003cstrong>Lands End\u003c/strong> stage at the Polo Field, walk along the food booths on the south side all the way to the left side of the stage. The north side is clogged with the VIP area, and so sidling southward can get you close, with some nice breathing room. At the \u003cstrong>Twin Peaks\u003c/strong> stage over in Hellman Hollow, crush past the logjam near the bathrooms and head up the incline to the left of the stage; there’s often a sea of blankets, but finding a place to stand isn’t hard. The \u003cstrong>Panhandle\u003c/strong> stage area gets downright claustrophobic for more popular bands, but if you walk along the eco-themed booths on the left of the stage, you can get right up front. (If you’re sneaky, you can even walk \u003cem>behind\u003c/em> the booths, but I didn’t tell you so.)\u003c/p>\n\u003cp>By far the most frustrating stage is the \u003cstrong>Sutro\u003c/strong> stage. Because the ground at Lindley Meadow takes a sharp dip in front of the stage, if you’re not down in the “bowl” at the front, it’s very hard to see the performer. You can angle for a spot on the crowded hill to the right of the stage, but I recommend snaking around the disabled seating platform to the left of the stage. Be persistent, and once you’re on the other side, you’ll find plenty of room, shade, a nice incline and even some picnic tables. You’ll also be close to the band.\u003c/p>\n\u003cfigure id=\"attachment_10139936\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg\" alt=\"Arcade Fire\" width=\"500\" height=\"748\" class=\"size-full wp-image-10139936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-200x300.jpg 200w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Win Butler of Arcade Fire at Outside Lands in 2011. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Eat\u003c/h4>\n\u003cp>Outside Lands has such an \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">excellent variety of cuisine\u003c/a> that it’s easy to forget you can bring in your own food. But if you’re not going to pack deli sandwiches with fruits and vegetables in a backpack, then remember to bring money, because foodie delights like banh mi, huaraches, empanadas, pork belly, porcini donuts, arepas and fried egg sandwiches don’t exactly come cheap. (Over near the Sutro stage, there’s usually more common festival fare like Philly cheesesteak and chicken sandwiches.) The Choco-Lands area is where you’ll find your sugar fix. Remember that lines for pour-over coffee and wood-fired pizza will move very, very slowly.\u003c/p>\n\u003cp>I’ve said it a hundred times: all outdoor festivals should supply free water. Outside Lands is \u003ca href=\"https://www.sfoutsidelands.com/eco-lands/\" target=\"_blank\" rel=\"noopener\">finally doing so\u003c/a>, after years of charging you to fill up your own reusable water bottle, or charging for a commemorative water bottle that comes with free refills. Water fountains are virtually nonexistent (there’s one near the fenced-off bathrooms adjacent to the Twin Peaks stage), and ground spigots, last I checked, are turned off. Thank goodness, then, for \u003ca href=\"http://www.rockmed.org/\" target=\"_blank\" rel=\"noopener\">Rock Medicine\u003c/a>, which always keeps a water cooler and paper cups on hand for thirsty festival-goers. Their booth is usually between the Panhandle Stage and the Polo Fields.\u003c/p>\n\u003cp>As for alcohol, there’s plenty of \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">fine wine\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">craft beer\u003c/a> on offer. Or you can always do what some locals do: \u003ca href=\"http://instagram.com/p/qsEnhbvUOa/\" target=\"_blank\" rel=\"noopener\">bury bottles of liquor in Golden Gate Park\u003c/a> a week before the festival and dig it up later after you’ve slid past security.\u003c/p>\n\u003ch4>Besides the Bands\u003c/h4>\n\u003cp>Make sure to walk through McLaren Pass, a forest-like path where all manner of weird clowns and marching bands seem to show up. (This is also where \u003ca href=\"https://www.youtube.com/watch?v=aVRpRxRJg9E\" target=\"_blank\" rel=\"noopener\">Jack White once played an unannounced set\u003c/a>.) Do definitely inhale aerosol art at the triangular graffiti wall. Avoid any and all marketers handing you glossy handbills for a cheaper phone plan or a new social network. Be wary of special events in corporate tents draped with logos of credit card companies. Do not, I repeat \u003cem>do not\u003c/em>, agree to see any “intimate show” that requires you to “like” a company on Facebook to get in.\u003c/p>\n\u003cp>Certainly, gawk at the slow-moving line for the Buckminster Fuller-esque DJ tent, which is always filled with colorfully dressed people hoping their MDMA high lasts until they can get inside. Also try to find time for the Barbary Coast comedy tent — the old-style wooden décor is beautiful inside, and if nothing else, you’ll be able to sit for a while. (More popular comedy acts are accessed via a Fastpass-style situation with the line; be sure to check in well ahead of time to get a reservation.)\u003c/p>\n\u003cfigure id=\"attachment_10139939\" class=\"wp-caption aligncenter\" style=\"max-width: 628px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139939 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg\" alt=\"Deadmau5 Mask\" width=\"628\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg 628w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-300x199.jpg 300w\" sizes=\"(max-width: 628px) 100vw, 628px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be that guy. Just don’t. (Photo by Gabe Meline.)\u003c/figcaption>\u003c/figure>\n\u003ch4>And Remember…\u003c/h4>\n\u003cp>You can plot your day ahead of time using the \u003ca href=\"http://lineup.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">performance schedule\u003c/a>, but don’t cleave too tightly to any rigid plan. Chances are you’ll be happiest if you float around freely. Go ahead and ditch out on a living legend and see a smaller local rapper instead. If your favorite indie band starts putting you to sleep this weekend, go see whatever weird jazz performance is happening in the forest. Or heck, go check out someone you’ve never heard of. After all, at their best, music festivals are all about discovery. Come with an open mind, and leave with a well-rounded sense of what’s happening.\u003c/p>\n\u003cp>And… congratulations! You’ve survived!\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 floatright]\u003c/p>\n\u003cp>\u003cem>The Outside Lands Music and Arts Festival runs Friday–Sunday in Golden Gate Park. For \u003ca href=\"http://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfoutsidelands.com.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Surviving \u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>?” my friend asks me, incredulously. “The only way to survive three days of loud music, hot weather and hordes of people is to \u003cem>not go\u003c/em> to Outside Lands.”\u003c/p>\n\u003cp>It’s a common misconception, the idea that huge music festivals are for teenagers with boundless energy and a bottomless capacity for indulgence. But even if, like me, you’re not exactly a spring chicken anymore, there are ways to spend three days in Golden Gate Park this weekend, see great performers, and get out of there alive.\u003c/p>\n\u003cp>Take it from someone who’s been at Outside Lands every year since its inception. Here’s what I’ve learned in the last decade.\u003c/p>\n\u003ch4>Getting There\u003c/h4>\n\u003cp>There’s only been a couple years I actually parked in the neighborhood, and even then, it was an eight-block, hilly walk to the park. One year I fought the crowds on MUNI, waiting in a huge throng to squeeze onto a packed bus. Neither were ideal. And Uber’s \u003ca href=\"https://archives.sfweekly.com/thesnitch/2014/08/11/uber-charges-up-to-290-per-ride-at-outside-lands\" target=\"_blank\" rel=\"noopener\">“surge pricing” for the festival\u003c/a> is insane.\u003c/p>\n\u003cp>Easily the best way to get to Outside Lands is to take that clunky old 10-speed, throw it in your trunk with a bungee cord, park for free near Ocean Beach and \u003cstrong>ride your bike in\u003c/strong>. This way you can pick up any provisions you’ve forgotten (and cheap sandwiches!) at the supermarket \u003cem>and\u003c/em> say hi to \u003ca href=\"http://openplac.es/trips/bison-in-golden-gate-park-san-francisco\" target=\"_blank\" rel=\"noopener\">the buffalo\u003c/a> along the way. And at the end of the long day, it’s a downhill ride all the way to your car, with no traffic getting out. Easy.\u003c/p>\n\u003cfigure id=\"attachment_10139935\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg\" alt=\"\" width=\"500\" height=\"724\" class=\"size-full wp-image-10139935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-207x300.jpg 207w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One word, folks: layers.\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Wear\u003c/h4>\n\u003cp>Clothes-wise, a music festival is like snow skiing — you’re gonna have to set aside delusions of fashion for optimal functionality. Don’t try to wind up on a “15 Sexiest Outfits from Outside Lands (NSFW)” clickbait list. Realize that the fog rolls in. Remember that you will get dusty. Be prepared to walk between stages, logging multiple miles each day. There’s no shame in looking like a Kirkland model from the Costco catalog if it’ll keep you comfortable. Rock those lame-looking tennis shoes, man. Put on an A’s hat. And yes: wear sunscreen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Important: In 2018, the festival began a \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">very restrictive bag policy\u003c/a>. Similar to the NFL’s \u003ca href=\"https://www.xojane.com/sports/the-nfls-new-bag-policy-is-just-plain-stupid\" rel=\"noopener\" target=\"_blank\">widely criticized\u003c/a> bag policy, it requires you to bring a clear, transparent bag in place of a purse, backpack or messenger bag. Read up on it \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>, and be prepared. (I don’t know where the hell to buy a clear backpack, sorry.)\u003c/p>\n\u003ch4>Where to Watch\u003c/h4>\n\u003cp>The best vantage point at each stage varies depending on your taste, but here’s what I recommend. At the large \u003cstrong>Lands End\u003c/strong> stage at the Polo Field, walk along the food booths on the south side all the way to the left side of the stage. The north side is clogged with the VIP area, and so sidling southward can get you close, with some nice breathing room. At the \u003cstrong>Twin Peaks\u003c/strong> stage over in Hellman Hollow, crush past the logjam near the bathrooms and head up the incline to the left of the stage; there’s often a sea of blankets, but finding a place to stand isn’t hard. The \u003cstrong>Panhandle\u003c/strong> stage area gets downright claustrophobic for more popular bands, but if you walk along the eco-themed booths on the left of the stage, you can get right up front. (If you’re sneaky, you can even walk \u003cem>behind\u003c/em> the booths, but I didn’t tell you so.)\u003c/p>\n\u003cp>By far the most frustrating stage is the \u003cstrong>Sutro\u003c/strong> stage. Because the ground at Lindley Meadow takes a sharp dip in front of the stage, if you’re not down in the “bowl” at the front, it’s very hard to see the performer. You can angle for a spot on the crowded hill to the right of the stage, but I recommend snaking around the disabled seating platform to the left of the stage. Be persistent, and once you’re on the other side, you’ll find plenty of room, shade, a nice incline and even some picnic tables. You’ll also be close to the band.\u003c/p>\n\u003cfigure id=\"attachment_10139936\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg\" alt=\"Arcade Fire\" width=\"500\" height=\"748\" class=\"size-full wp-image-10139936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-200x300.jpg 200w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Win Butler of Arcade Fire at Outside Lands in 2011. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Eat\u003c/h4>\n\u003cp>Outside Lands has such an \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">excellent variety of cuisine\u003c/a> that it’s easy to forget you can bring in your own food. But if you’re not going to pack deli sandwiches with fruits and vegetables in a backpack, then remember to bring money, because foodie delights like banh mi, huaraches, empanadas, pork belly, porcini donuts, arepas and fried egg sandwiches don’t exactly come cheap. (Over near the Sutro stage, there’s usually more common festival fare like Philly cheesesteak and chicken sandwiches.) The Choco-Lands area is where you’ll find your sugar fix. Remember that lines for pour-over coffee and wood-fired pizza will move very, very slowly.\u003c/p>\n\u003cp>I’ve said it a hundred times: all outdoor festivals should supply free water. Outside Lands is \u003ca href=\"https://www.sfoutsidelands.com/eco-lands/\" target=\"_blank\" rel=\"noopener\">finally doing so\u003c/a>, after years of charging you to fill up your own reusable water bottle, or charging for a commemorative water bottle that comes with free refills. Water fountains are virtually nonexistent (there’s one near the fenced-off bathrooms adjacent to the Twin Peaks stage), and ground spigots, last I checked, are turned off. Thank goodness, then, for \u003ca href=\"http://www.rockmed.org/\" target=\"_blank\" rel=\"noopener\">Rock Medicine\u003c/a>, which always keeps a water cooler and paper cups on hand for thirsty festival-goers. Their booth is usually between the Panhandle Stage and the Polo Fields.\u003c/p>\n\u003cp>As for alcohol, there’s plenty of \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">fine wine\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">craft beer\u003c/a> on offer. Or you can always do what some locals do: \u003ca href=\"http://instagram.com/p/qsEnhbvUOa/\" target=\"_blank\" rel=\"noopener\">bury bottles of liquor in Golden Gate Park\u003c/a> a week before the festival and dig it up later after you’ve slid past security.\u003c/p>\n\u003ch4>Besides the Bands\u003c/h4>\n\u003cp>Make sure to walk through McLaren Pass, a forest-like path where all manner of weird clowns and marching bands seem to show up. (This is also where \u003ca href=\"https://www.youtube.com/watch?v=aVRpRxRJg9E\" target=\"_blank\" rel=\"noopener\">Jack White once played an unannounced set\u003c/a>.) Do definitely inhale aerosol art at the triangular graffiti wall. Avoid any and all marketers handing you glossy handbills for a cheaper phone plan or a new social network. Be wary of special events in corporate tents draped with logos of credit card companies. Do not, I repeat \u003cem>do not\u003c/em>, agree to see any “intimate show” that requires you to “like” a company on Facebook to get in.\u003c/p>\n\u003cp>Certainly, gawk at the slow-moving line for the Buckminster Fuller-esque DJ tent, which is always filled with colorfully dressed people hoping their MDMA high lasts until they can get inside. Also try to find time for the Barbary Coast comedy tent — the old-style wooden décor is beautiful inside, and if nothing else, you’ll be able to sit for a while. (More popular comedy acts are accessed via a Fastpass-style situation with the line; be sure to check in well ahead of time to get a reservation.)\u003c/p>\n\u003cfigure id=\"attachment_10139939\" class=\"wp-caption aligncenter\" style=\"max-width: 628px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139939 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg\" alt=\"Deadmau5 Mask\" width=\"628\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg 628w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-300x199.jpg 300w\" sizes=\"(max-width: 628px) 100vw, 628px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be that guy. Just don’t. (Photo by Gabe Meline.)\u003c/figcaption>\u003c/figure>\n\u003ch4>And Remember…\u003c/h4>\n\u003cp>You can plot your day ahead of time using the \u003ca href=\"http://lineup.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">performance schedule\u003c/a>, but don’t cleave too tightly to any rigid plan. Chances are you’ll be happiest if you float around freely. Go ahead and ditch out on a living legend and see a smaller local rapper instead. If your favorite indie band starts putting you to sleep this weekend, go see whatever weird jazz performance is happening in the forest. Or heck, go check out someone you’ve never heard of. After all, at their best, music festivals are all about discovery. Come with an open mind, and leave with a well-rounded sense of what’s happening.\u003c/p>\n\u003cp>And… congratulations! You’ve survived!\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Outside Lands Music and Arts Festival runs Friday–Sunday in Golden Gate Park. For \u003ca href=\"http://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfoutsidelands.com.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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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": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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