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"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
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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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"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",
"headTitle": "How to Survive Outside Lands: A Veteran’s Guide | KQED",
"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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"excerpt": "Everything you need to know to get through the three-day festival in Golden Gate Park with your health, your wallet and your dignity intact.",
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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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