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"slug": "portola-festival-2025-pier-80-san-francisco-review-photos",
"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’",
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"content": "\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Sets from Dom Dolla, Peggy Gou and Christina Aguilera charged up a high-energy crowd of ravers and dancers.",
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"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’ | KQED",
"description": "Sets from Dom Dolla, Peggy Gou and Christina Aguilera charged up a high-energy crowd of ravers and dancers.",
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"headline": "Portola Festival Turned Pier 80 Into ‘San Frandisco’",
"datePublished": "2025-09-22T12:02:36-07:00",
"dateModified": "2025-09-22T12:40:10-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-oakland-san-jose-bay-area-concerts-fall-2025",
"title": "10 Must-See Concerts in the Bay Area This Fall",
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"headTitle": "10 Must-See Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Music festival season in the Bay Area doesn’t stop in the summer. Well into the fall, when the fog clears and we finally get to take off our jackets, the region’s concert offerings continue to be abundant as ever. Whether you prefer a free show in the park, a night at the museum or a massive stadium concert, we’ve rounded up 10 performances you shouldn’t miss.\u003c/p>\n\u003cfigure id=\"attachment_13865652\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433.jpg\" alt=\"Hieroglyphics on stage at Hiero Day 2019.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics on stage at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hieroday.com\">Hiero Day\u003c/a>\u003c/h2>\n\u003cp>[aside postID='arts_13979898']\u003cem>Aug. 28–Sept. 3, 2025\u003cbr>\nMultiple Oakland locations and The Midway, San Francisco \u003c/em>\u003c/p>\n\u003cp>Hiero Day is a family-friendly affair celebrating all things hip-hop culture. This year, festivities kick off on Aug. 28 with a night at the California Academy of Sciences with Souls of Mischief. The main event, Sept. 1 at the Midway, features Pete Rock, Hieroglyphics, Seiji Oda, MacArthur Maze, Alien Mac Kitty and more. The week wraps up Sept. 3 with an Oakland Ballers halftime performance by Hieroglyphics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13979826\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 6, 2025\u003cbr>\nMare Island, Vallejo\u003c/em>\u003c/p>\n\u003cp>Headlining this year’s Dock of the Bay Festival is a triple bill of Vallejo greatness: E-40, Baby Bash, and LaRussell. The biggest living icon of Bay Area rap will join forces with the “Suga Suga” hitmaker and one of the brightest young talents from the region, at a festival practically down the street from where they were raised. Con Funk Shun will bring funky vibes, and August Lee Stevens promises a swoon-worthy set of jazzy R&B.\u003c/p>\n\u003cfigure id=\"attachment_13980113\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Martha Wash performs live on stage during Rewind Scotland 2018 at Scone Palace on July 21, 2018 in Perth, Scotland. \u003ccite>(Lorne Thomson/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandpride.org/event-details/mainstage\">Oakland Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2025\u003cbr>\nDowntown Oakland\u003c/em>\u003c/p>\n\u003cp>Two queens of dance music are headlining the main stage of Oakland Pride this year: Martha Wash, whose powerhouse vocals propelled ’90s house anthems like “Gonna Make You Sweat (Everybody Dance Now),” and CeCe Peniston, whose “Finally” continues to light up global dance floors 30 years later. Joining them on stage is Oakland rap star Kamaiyah, who should have everyone going dumb by the end of the night with songs like “Fuck It Up” and “Windows.”\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/poolside-250907/\">Poolside’s Daytime Disco\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2025\u003cbr>\nUnion Square, San Francisco\u003c/em>\u003c/p>\n\u003cp>Poolside makes perfect day party music: laidback, tropical boogie you can two-step to with a drink in hand. The multifaceted, percussion-powered live band led by Jeffrey Paradise plays a free show that promises to bring sunny vibes to Union Square during San Francisco’s second summer.\u003c/p>\n\u003cfigure id=\"attachment_13962418\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shaboozey performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.empire15.com/\">EMPIRE 15 with Shaboozey\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 13, 2025\u003c/em>\u003cbr>\n\u003cem>Civic Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco label EMPIRE has a knack for signing hot artists before they blow up — most recently, Shaboozey, whose “Bar Song (Tipsy)” tied for the longest-running No. 1 hit in Billboard chart history. He headlines a free show at San Francisco’s Civic Center alongside Afrobeats star Fireboy DML and singer-songwriter Red Leather.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs at 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 4, 2023, in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/sleeping-on-gems-fest-w-larry-june-thuy-more-sj-tickets-1538883765769\">Sleeping on Gems Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2025\u003cbr>\nDiscovery Meadow, San José\u003c/em>\u003c/p>\n\u003cp>Larry June’s ice-cold-player flow and esoteric flexes about fine foods and coastal views have made him a favorite well beyond his hometown of San Francisco. Joining him on stage at Sleeping on Gems is the silky-voiced, Bay Area-raised R&B singer Thuy, as well as Sango, DJ Lex and Lou Phelps.\u003c/p>\n\u003cfigure id=\"attachment_13919640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.portolamusicfestival.com/\">Portola\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 20–21, 2025\u003c/em>\u003cbr>\n\u003cem>Pier 80, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance music greats including The Chemical Brothers and The Prodigy will perform at San Francisco’s premiere electronic music festival, Portola, alongside newer talent like The Dare and Peggy Gou. At the industrial waterfront setting of Pier 80, this festival has a warehouse-rave feel and a huge lineup of mostly DJs and a few live acts, including Christina Aguilera.\u003c/p>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/kali-uchis\">Kali Uchis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2025\u003cbr>\nSAP Center, San José\u003c/em>\u003c/p>\n\u003cp>Whether dedicating soul songs to her infant son on \u003ci>Sincerely\u003c/i>, or getting a perreo party started on \u003ci>Orquídeas\u003c/i>, Kali Uchis enchants her audience with her airy voice and coquettish bilingual lyrics. The Colombian American star brings her dynamic stage show to San José, where she’ll pull from her vast, decade-long discography.\u003c/p>\n\u003cfigure id=\"attachment_13979076\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar.jpg\" alt=\"A woman with blonde hair and a black leather jacket leans against a bar counter\" width=\"1788\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar.jpg 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 3–5, 2025\u003cbr>\nGolden Gate Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>This free, unpretentious festival in Golden Gate Park is a tried and true San Francisco tradition — the ideal place to pack a picnic and take the whole family. This year’s lineup features legendary singer-songwriter Lucinda Williams, jazz singer Samara Joy and jam band The String Cheese Incident.\u003c/p>\n\u003cfigure id=\"attachment_13905593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burna Boy performs at Outside Lands on Sunday, Oct. 31, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketmaster.com/event/1C0062CAB1F02FDB\">Burna Boy\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 18, 2025\u003cbr>\nOakland Arena\u003c/em>\u003c/p>\n\u003cp>Fresh off his new album \u003ci>No Sign of Weakness\u003c/i>, Nigerian superstar Burna Boy will touch down in Oakland during his international tour. Whether performing breakout hits like “Last Last” or addictive new tracks like “Bundle by Bundle,” Burna Boy promises hip-winding beats and a high-production live show.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Free shows, homegrown festivals and major tours touch down in San Francisco, Oakland and San José.",
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"title": "10 Must-See Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Music festival season in the Bay Area doesn’t stop in the summer. Well into the fall, when the fog clears and we finally get to take off our jackets, the region’s concert offerings continue to be abundant as ever. Whether you prefer a free show in the park, a night at the museum or a massive stadium concert, we’ve rounded up 10 performances you shouldn’t miss.\u003c/p>\n\u003cfigure id=\"attachment_13865652\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13865652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433.jpg\" alt=\"Hieroglyphics on stage at Hiero Day 2019.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics on stage at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hieroday.com\">Hiero Day\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Aug. 28–Sept. 3, 2025\u003cbr>\nMultiple Oakland locations and The Midway, San Francisco \u003c/em>\u003c/p>\n\u003cp>Hiero Day is a family-friendly affair celebrating all things hip-hop culture. This year, festivities kick off on Aug. 28 with a night at the California Academy of Sciences with Souls of Mischief. The main event, Sept. 1 at the Midway, features Pete Rock, Hieroglyphics, Seiji Oda, MacArthur Maze, Alien Mac Kitty and more. The week wraps up Sept. 3 with an Oakland Ballers halftime performance by Hieroglyphics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13979826\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_037_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 6, 2025\u003cbr>\nMare Island, Vallejo\u003c/em>\u003c/p>\n\u003cp>Headlining this year’s Dock of the Bay Festival is a triple bill of Vallejo greatness: E-40, Baby Bash, and LaRussell. The biggest living icon of Bay Area rap will join forces with the “Suga Suga” hitmaker and one of the brightest young talents from the region, at a festival practically down the street from where they were raised. Con Funk Shun will bring funky vibes, and August Lee Stevens promises a swoon-worthy set of jazzy R&B.\u003c/p>\n\u003cfigure id=\"attachment_13980113\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1003446616-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Martha Wash performs live on stage during Rewind Scotland 2018 at Scone Palace on July 21, 2018 in Perth, Scotland. \u003ccite>(Lorne Thomson/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandpride.org/event-details/mainstage\">Oakland Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2025\u003cbr>\nDowntown Oakland\u003c/em>\u003c/p>\n\u003cp>Two queens of dance music are headlining the main stage of Oakland Pride this year: Martha Wash, whose powerhouse vocals propelled ’90s house anthems like “Gonna Make You Sweat (Everybody Dance Now),” and CeCe Peniston, whose “Finally” continues to light up global dance floors 30 years later. Joining them on stage is Oakland rap star Kamaiyah, who should have everyone going dumb by the end of the night with songs like “Fuck It Up” and “Windows.”\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/poolside-250907/\">Poolside’s Daytime Disco\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2025\u003cbr>\nUnion Square, San Francisco\u003c/em>\u003c/p>\n\u003cp>Poolside makes perfect day party music: laidback, tropical boogie you can two-step to with a drink in hand. The multifaceted, percussion-powered live band led by Jeffrey Paradise plays a free show that promises to bring sunny vibes to Union Square during San Francisco’s second summer.\u003c/p>\n\u003cfigure id=\"attachment_13962418\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shaboozey performs at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.empire15.com/\">EMPIRE 15 with Shaboozey\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 13, 2025\u003c/em>\u003cbr>\n\u003cem>Civic Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco label EMPIRE has a knack for signing hot artists before they blow up — most recently, Shaboozey, whose “Bar Song (Tipsy)” tied for the longest-running No. 1 hit in Billboard chart history. He headlines a free show at San Francisco’s Civic Center alongside Afrobeats star Fireboy DML and singer-songwriter Red Leather.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs at 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 4, 2023, in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/sleeping-on-gems-fest-w-larry-june-thuy-more-sj-tickets-1538883765769\">Sleeping on Gems Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2025\u003cbr>\nDiscovery Meadow, San José\u003c/em>\u003c/p>\n\u003cp>Larry June’s ice-cold-player flow and esoteric flexes about fine foods and coastal views have made him a favorite well beyond his hometown of San Francisco. Joining him on stage at Sleeping on Gems is the silky-voiced, Bay Area-raised R&B singer Thuy, as well as Sango, DJ Lex and Lou Phelps.\u003c/p>\n\u003cfigure id=\"attachment_13919640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.portolamusicfestival.com/\">Portola\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 20–21, 2025\u003c/em>\u003cbr>\n\u003cem>Pier 80, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance music greats including The Chemical Brothers and The Prodigy will perform at San Francisco’s premiere electronic music festival, Portola, alongside newer talent like The Dare and Peggy Gou. At the industrial waterfront setting of Pier 80, this festival has a warehouse-rave feel and a huge lineup of mostly DJs and a few live acts, including Christina Aguilera.\u003c/p>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/kali-uchis\">Kali Uchis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2025\u003cbr>\nSAP Center, San José\u003c/em>\u003c/p>\n\u003cp>Whether dedicating soul songs to her infant son on \u003ci>Sincerely\u003c/i>, or getting a perreo party started on \u003ci>Orquídeas\u003c/i>, Kali Uchis enchants her audience with her airy voice and coquettish bilingual lyrics. The Colombian American star brings her dynamic stage show to San José, where she’ll pull from her vast, decade-long discography.\u003c/p>\n\u003cfigure id=\"attachment_13979076\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar.jpg\" alt=\"A woman with blonde hair and a black leather jacket leans against a bar counter\" width=\"1788\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar.jpg 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/lucindawilliamsrestaurantbar-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 3–5, 2025\u003cbr>\nGolden Gate Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>This free, unpretentious festival in Golden Gate Park is a tried and true San Francisco tradition — the ideal place to pack a picnic and take the whole family. This year’s lineup features legendary singer-songwriter Lucinda Williams, jazz singer Samara Joy and jam band The String Cheese Incident.\u003c/p>\n\u003cfigure id=\"attachment_13905593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burna Boy performs at Outside Lands on Sunday, Oct. 31, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketmaster.com/event/1C0062CAB1F02FDB\">Burna Boy\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 18, 2025\u003cbr>\nOakland Arena\u003c/em>\u003c/p>\n\u003cp>Fresh off his new album \u003ci>No Sign of Weakness\u003c/i>, Nigerian superstar Burna Boy will touch down in Oakland during his international tour. Whether performing breakout hits like “Last Last” or addictive new tracks like “Bundle by Bundle,” Burna Boy promises hip-winding beats and a high-production live show.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Portola Festival Lineup 2025: the Chemical Brothers, Peggy Gou, Christina Aguilera, More",
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"content": "\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">San Francisco’s Portola returns\u003c/a> to rave another day in front of the shipping cranes at Pier 80, and the massive music festival just announced its 2025 lineup.\u003c/p>\n\u003cp>LCD Soundsystem, who ruled the Brooklyn electroclash scene of the 2000s, performs Saturday, Sept. 20, along with U.K. big beat legends the Chemical Brothers, who’ll be playing a DJ set in the warehouse. Anti Up, an EDM and tech-house duo made up of Chris Lake and Chris Lorenzo, will also headline, on the heels of rocking a massive crowd at Coachella. Continuing Portola’s venerable tradition of booking at least one throwback pop artist (Natasha Bedingfield was last year), Christina Aguilera will break up the schedule of nonstop DJs to perform live.\u003c/p>\n\u003cp>Portola continues on Sunday, Sept. 21, with “Firestarter” hitmakers The Prodigy (whose singer Keith Flint died in 2019), and a live set by Moby. DJ, producer and singer Peggy Gou, whose Korean-language house anthems have fueled dance floors world over, will also perform alongside punk-rapper Rico Nasty, art-pop singer Blood Orange, experimental producer Arca, R&B singer Revyn Lenae and more.\u003c/p>\n\u003cp>Tickets for Portola go on sale at 12 p.m. on Thursday, May 15. \u003ca href=\"https://portolamusicfestival.com/\">More details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">San Francisco’s Portola returns\u003c/a> to rave another day in front of the shipping cranes at Pier 80, and the massive music festival just announced its 2025 lineup.\u003c/p>\n\u003cp>LCD Soundsystem, who ruled the Brooklyn electroclash scene of the 2000s, performs Saturday, Sept. 20, along with U.K. big beat legends the Chemical Brothers, who’ll be playing a DJ set in the warehouse. Anti Up, an EDM and tech-house duo made up of Chris Lake and Chris Lorenzo, will also headline, on the heels of rocking a massive crowd at Coachella. Continuing Portola’s venerable tradition of booking at least one throwback pop artist (Natasha Bedingfield was last year), Christina Aguilera will break up the schedule of nonstop DJs to perform live.\u003c/p>\n\u003cp>Portola continues on Sunday, Sept. 21, with “Firestarter” hitmakers The Prodigy (whose singer Keith Flint died in 2019), and a live set by Moby. DJ, producer and singer Peggy Gou, whose Korean-language house anthems have fueled dance floors world over, will also perform alongside punk-rapper Rico Nasty, art-pop singer Blood Orange, experimental producer Arca, R&B singer Revyn Lenae and more.\u003c/p>\n\u003cp>Tickets for Portola go on sale at 12 p.m. on Thursday, May 15. \u003ca href=\"https://portolamusicfestival.com/\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Now in its third year, the Portola Music Festival has become one of the hottest tickets in town for fans of electronic and club music. For two days, Sept. 28–29, San Francisco’s Pier 80 transformed into a giant rave — if you’ll allow the expansion of the term “rave,” with its roots in underground music and culture, to include a festival put on by a major corporate promoter.\u003c/p>\n\u003cp>More than 30,000 attendees got decked out each day to dance and vibe beneath a glittering disco ball, taking in sets by Jessie Ware, Disclosure, M.I.A., hometown heroes Deltron 3030 and more. Photographer Estefany Gonzalez was on the scene for photos of fans and their festival fashions.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13965719/portola-festival-review-photos-san-francisco-2024\">See photos of performances and read more about the weekend here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lola Fadojutimi, 30, wears red sunglasses at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Fadojutimi currently lives in Washington, D.C., and was so excited about the lineup that she decided to purchase tickets despite the fact that she’s moving to New York as soon as she returns from her trip. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gal Azulay, 25, twirls a glowing rave toy as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. Azulay was one of the many people in attendance with neon accessories. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emilio Arias, 36, wears a Victorian-style wig at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965753\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Janie Flores, 29, dances with her doll at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965742\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robby Alva, 29, and his partner Cesar Delgado, 29, hold hands at at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965740\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Romero, 30, uses a parasol decorated with colorful charms to protect herself from the sun at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Romero, a festival enthusiast, has taken the parasol with her to countless festivals, considers it a staple, and has repaired it each time a charm falls off. “It’s been through a lot,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965752\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shashank Shivashankar, 28, center, dances at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965761\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Herrera, 34, waves a rainbow fan as Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965759\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sungho Yoo, 37, center, and friends dress as fruit salad at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People dance as Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alyssa Tarango, 21, uses a pacifier as thousands of people gather at the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas Gerst, 30, decorates his spiked hair with safety pins at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Biggs, 30, center, dances with their friends as Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Ixcoy, 22, watches Horsegiirl perform from the front row of the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aaron Bermillo, 26, center, wears a vibrant, handmade fur outfit at the Ship Tent during Rebecca Black’s performance at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tatiana Henriquez, 25, sits on her friend’s shoulders as she watches Horsegiirl perform at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris Tan, 25, waves an inflatable pickle in the air as Mochakk performs at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965815\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A festival attendee wears light up fur leg warmers at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person identifying as “Granny” walks toward the Crane Stage as Natasha Bedingfield takes the stage at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Feldman, 35, right, hugs his friend as Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noheli Sotelo, 26, center, watches Mochakk perform at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melonee Sanchez, 21, wears colorful bracelets at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. The bracelets Sanchez wears are often referred to as kandi bracelets at raves and are often exchanged to commemorate a friendship. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shai Moya, 25, center, and friends party at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965755\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965755\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Linda Gordon, 55, and her dog Brixton, 11, stun in their shades at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Attendees brought out their best fits and neon accessories for the electronic music festival.",
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"title": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024 | KQED",
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"headline": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its third year, the Portola Music Festival has become one of the hottest tickets in town for fans of electronic and club music. For two days, Sept. 28–29, San Francisco’s Pier 80 transformed into a giant rave — if you’ll allow the expansion of the term “rave,” with its roots in underground music and culture, to include a festival put on by a major corporate promoter.\u003c/p>\n\u003cp>More than 30,000 attendees got decked out each day to dance and vibe beneath a glittering disco ball, taking in sets by Jessie Ware, Disclosure, M.I.A., hometown heroes Deltron 3030 and more. Photographer Estefany Gonzalez was on the scene for photos of fans and their festival fashions.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13965719/portola-festival-review-photos-san-francisco-2024\">See photos of performances and read more about the weekend here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lola Fadojutimi, 30, wears red sunglasses at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Fadojutimi currently lives in Washington, D.C., and was so excited about the lineup that she decided to purchase tickets despite the fact that she’s moving to New York as soon as she returns from her trip. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gal Azulay, 25, twirls a glowing rave toy as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. Azulay was one of the many people in attendance with neon accessories. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emilio Arias, 36, wears a Victorian-style wig at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965753\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Janie Flores, 29, dances with her doll at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965742\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robby Alva, 29, and his partner Cesar Delgado, 29, hold hands at at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965740\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Romero, 30, uses a parasol decorated with colorful charms to protect herself from the sun at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Romero, a festival enthusiast, has taken the parasol with her to countless festivals, considers it a staple, and has repaired it each time a charm falls off. “It’s been through a lot,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965752\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shashank Shivashankar, 28, center, dances at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965761\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Herrera, 34, waves a rainbow fan as Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965759\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sungho Yoo, 37, center, and friends dress as fruit salad at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People dance as Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alyssa Tarango, 21, uses a pacifier as thousands of people gather at the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas Gerst, 30, decorates his spiked hair with safety pins at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Biggs, 30, center, dances with their friends as Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Ixcoy, 22, watches Horsegiirl perform from the front row of the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aaron Bermillo, 26, center, wears a vibrant, handmade fur outfit at the Ship Tent during Rebecca Black’s performance at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tatiana Henriquez, 25, sits on her friend’s shoulders as she watches Horsegiirl perform at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris Tan, 25, waves an inflatable pickle in the air as Mochakk performs at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965815\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A festival attendee wears light up fur leg warmers at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person identifying as “Granny” walks toward the Crane Stage as Natasha Bedingfield takes the stage at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Feldman, 35, right, hugs his friend as Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noheli Sotelo, 26, center, watches Mochakk perform at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melonee Sanchez, 21, wears colorful bracelets at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. The bracelets Sanchez wears are often referred to as kandi bracelets at raves and are often exchanged to commemorate a friendship. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shai Moya, 25, center, and friends party at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965755\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965755\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Linda Gordon, 55, and her dog Brixton, 11, stun in their shades at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’",
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"content": "\u003cp>[aside postID='arts_13965861']San Francisco music festival \u003ca href=\"https://portolamusicfestival.com/\">Portola\u003c/a> returned over the weekend with a lineup of international acts like French DJs Justice and Gesaffelstein, U.K. hitmakers Disclosure and M.I.A., Australian producer Fisher — plus homegrown heroes Deltron 3030 and more.\u003c/p>\n\u003cp>With its industrial setting at Pier 80, plus a giant disco ball literally hanging off a shipping crane, Portola took the gritty vibe of a warehouse rave and scaled it up into a major happening. Below are some of this year’s highlights.\u003c/p>\n\u003cfigure id=\"attachment_13965756\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jessie Ware danced with the ‘Beautiful People’\u003c/h2>\n\u003cp>Jessie Ware’s performance at the Pier Stage on Saturday afternoon was a groovy, disco-pop celebration. Dressed in a shimmering silver full-length dress with white accent feathers, Ware and her two charismatic dancers had the crowd jumping as she performed some of her latest hits, including “What’s Your Pleasure,” “Spotlight” and “Save a Kiss.”\u003c/p>\n\u003cp>Launching into her track “Beautiful People” from her 2023 album \u003cem>That! Feels Good!\u003c/em>, Ware showed extra love to the audience as she taught them dance moves. The real pearl, though, was when Ware surprised the crowd by breaking into her own rendition of “Believe” by Cher and slipping into the audience to dance with ecstatic festival-goers. “How do I get out of here?” Ware asked, laughing at herself as she wove through the throngs of people. After the dance party, Ware’s closing song “Free Yourself” only felt fitting. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A nostalgic set from Natasha Bedingfield\u003c/h2>\n\u003cp>For 15 beautiful minutes, the Portola crowd entered a nostalgic fantasy as Natasha Bedingfield took the stage decked out in a cheetah print bodysuit. After psyching everyone out with the intro to “Gonna Make You Sweat (Everybody Dance Now),” Bedingfield got the crowd dancing immediately with her 2008 hit “Pocketful of Sunshine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With heavy, thudding bass accompanying her softer pop, Bedingfield’s performances of her early 2000s discography felt modern and updated. Her 2004 hit song “These Words” already got an official 2024 makeover release earlier this year, but Bedingfield went back to basics for her final track. The very moment the instrumentals started for “Unwritten,” the crowd’s energy surged, and fans screamed along to every word, nearly matching Bedingfield’s volume as she belted out the lyrics in her familiar, raspy tone: “Today is where your book begins / The rest is still unwritten.” \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965777\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gesaffelstein performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Gesaffelstein put the audience in a trance\u003c/h2>\n\u003cp>French producer Gesaffelstein brought the energy right up until the very end. Covered in shiny, sleek black material from head to toe, Gesaffelstein’s festival look matched his setup: two clusters of giant, black crystals atop a set of black risers. He didn’t introduce himself like other artists. He actually didn’t speak to the crowd at all — and he didn’t need to. When he lifted his arm over his head, the crowd immediately followed, raising theirs with him.\u003c/p>\n\u003cp>Gesaffelstein, whose discography spans more than a decade, kept fans bobbing along to dark synth-pop tracks like “Hard Dreams” from his most recent album \u003cem>Gamma\u003c/em>, as well as harder techno favorites like “Opr” from 2011’s \u003cem>Conspiracy Pt.2\u003c/em>.\u003c/p>\n\u003cp>Standing in a prism of red light, surrounded by fog, his visuals met at the intersection of electronic and gothic. He popped his shoulders with the crowd as they vibed to his heavy, trance-inducing beats, black crystals glowing throughout. He left just as quietly as he arrived, waving to the crowd before vanishing into his set’s smoky aftermath. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965784\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Black performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebecca Black, queen of camp\u003c/h2>\n\u003cp>The coolest way to reclaim a cringy song you made in middle school? Make a chipmunk-voiced hyperpop remix of it and get a tent full of vaping ravers to scream the lyrics while jumping up and down. At least that’s what Rebecca Black did at Portola Sunday. “Whether you’re here because you know me from one thing or the other or a DJ set, I don’t give a fuck,” she said with an ironic eye roll while warmly thanking the crowd.\u003c/p>\n\u003cp>If you haven’t paid attention since “Friday” went viral for the wrong reasons in 2011, Black grew up to make queer pop with a heavy dose of camp. On stage, her vocals were strong and unpretentious. She served 2000s pop diva choreo, flanked by two chiseled male dancers wearing gigantic, bouncing rubber boobs (at one point, the three of them rode a mic stand like a broomstick). At a festival with many stoic DJs, Black’s set was one of the weirdest, most carefree and entertaining. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>M.I.A. left the audience confused\u003c/h2>\n\u003cp>M.I.A.’s Sunday Portola set was perplexing. The U.K. star who came up in the 2000s as a champion of refugees and immigrants recently took a rightward turn, endorsing Donald Trump and aligning herself with conspiracy theorist Alex Jones. Between solid performances of hits like “Bad Girls” and “Bucky Done Gun,” she ranted about being canceled and inserted strange commentary that fell flat.\u003c/p>\n\u003cp>“Before Nicki had this wig, M.I.A. had this wig; before Rihanna had this wig, M.I.A. had this wig,” she said, pointing to a red wig not very reminiscent of either pop star. “Before Kamala Harris, there was M.I.A.” Huh?\u003c/p>\n\u003cp>High-energy performances of “XR2,” “Come Around” and “Bamboo Banga” harkened back to M.I.A.’s arrival on the scene with a completely fresh, global sound, but the rest of the set left a lot of people scratching their heads. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Disclosure’s feel-good dance floor\u003c/h2>\n\u003cp>U.K. house music giants Disclosure presided over a funky dance party at Portola’s main stage — their first time performing in San Francisco in eight years. Their 75-minute set reached back to early hits like the gospel sermon-infused “When a Fire Starts to Burn,” which the duo — consisting of Howard and Guy Lawrence — accented with live percussion, keys and bass. The brothers joked about dropping “a deep cut no one knows” before performing “Latch,” their mega-hit with Sam Smith. Throughout classics and newer tracks like “Douha (Mali Mali)” featuring Malian singer Fatoumata Diawara, the Lawrences switched between a drum kit, timbales, sample pads, an electronic xylophone and a collection of synths, clearly enjoying themselves and adding dynamism that kept the crowd guessing as they grooved. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>See more photos below. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Horsegiirl performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965762\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jpegmafia performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965748\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965738\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Empress Of performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965751\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soulwax performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deltron 3030 performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Honey Dijon performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965816\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fisher performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\" alt=\"\" width=\"1920\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1536x1017.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965758\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>San Francisco music festival \u003ca href=\"https://portolamusicfestival.com/\">Portola\u003c/a> returned over the weekend with a lineup of international acts like French DJs Justice and Gesaffelstein, U.K. hitmakers Disclosure and M.I.A., Australian producer Fisher — plus homegrown heroes Deltron 3030 and more.\u003c/p>\n\u003cp>With its industrial setting at Pier 80, plus a giant disco ball literally hanging off a shipping crane, Portola took the gritty vibe of a warehouse rave and scaled it up into a major happening. Below are some of this year’s highlights.\u003c/p>\n\u003cfigure id=\"attachment_13965756\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jessie Ware danced with the ‘Beautiful People’\u003c/h2>\n\u003cp>Jessie Ware’s performance at the Pier Stage on Saturday afternoon was a groovy, disco-pop celebration. Dressed in a shimmering silver full-length dress with white accent feathers, Ware and her two charismatic dancers had the crowd jumping as she performed some of her latest hits, including “What’s Your Pleasure,” “Spotlight” and “Save a Kiss.”\u003c/p>\n\u003cp>Launching into her track “Beautiful People” from her 2023 album \u003cem>That! Feels Good!\u003c/em>, Ware showed extra love to the audience as she taught them dance moves. The real pearl, though, was when Ware surprised the crowd by breaking into her own rendition of “Believe” by Cher and slipping into the audience to dance with ecstatic festival-goers. “How do I get out of here?” Ware asked, laughing at herself as she wove through the throngs of people. After the dance party, Ware’s closing song “Free Yourself” only felt fitting. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A nostalgic set from Natasha Bedingfield\u003c/h2>\n\u003cp>For 15 beautiful minutes, the Portola crowd entered a nostalgic fantasy as Natasha Bedingfield took the stage decked out in a cheetah print bodysuit. After psyching everyone out with the intro to “Gonna Make You Sweat (Everybody Dance Now),” Bedingfield got the crowd dancing immediately with her 2008 hit “Pocketful of Sunshine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With heavy, thudding bass accompanying her softer pop, Bedingfield’s performances of her early 2000s discography felt modern and updated. Her 2004 hit song “These Words” already got an official 2024 makeover release earlier this year, but Bedingfield went back to basics for her final track. The very moment the instrumentals started for “Unwritten,” the crowd’s energy surged, and fans screamed along to every word, nearly matching Bedingfield’s volume as she belted out the lyrics in her familiar, raspy tone: “Today is where your book begins / The rest is still unwritten.” \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965777\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gesaffelstein performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Gesaffelstein put the audience in a trance\u003c/h2>\n\u003cp>French producer Gesaffelstein brought the energy right up until the very end. Covered in shiny, sleek black material from head to toe, Gesaffelstein’s festival look matched his setup: two clusters of giant, black crystals atop a set of black risers. He didn’t introduce himself like other artists. He actually didn’t speak to the crowd at all — and he didn’t need to. When he lifted his arm over his head, the crowd immediately followed, raising theirs with him.\u003c/p>\n\u003cp>Gesaffelstein, whose discography spans more than a decade, kept fans bobbing along to dark synth-pop tracks like “Hard Dreams” from his most recent album \u003cem>Gamma\u003c/em>, as well as harder techno favorites like “Opr” from 2011’s \u003cem>Conspiracy Pt.2\u003c/em>.\u003c/p>\n\u003cp>Standing in a prism of red light, surrounded by fog, his visuals met at the intersection of electronic and gothic. He popped his shoulders with the crowd as they vibed to his heavy, trance-inducing beats, black crystals glowing throughout. He left just as quietly as he arrived, waving to the crowd before vanishing into his set’s smoky aftermath. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965784\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Black performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebecca Black, queen of camp\u003c/h2>\n\u003cp>The coolest way to reclaim a cringy song you made in middle school? Make a chipmunk-voiced hyperpop remix of it and get a tent full of vaping ravers to scream the lyrics while jumping up and down. At least that’s what Rebecca Black did at Portola Sunday. “Whether you’re here because you know me from one thing or the other or a DJ set, I don’t give a fuck,” she said with an ironic eye roll while warmly thanking the crowd.\u003c/p>\n\u003cp>If you haven’t paid attention since “Friday” went viral for the wrong reasons in 2011, Black grew up to make queer pop with a heavy dose of camp. On stage, her vocals were strong and unpretentious. She served 2000s pop diva choreo, flanked by two chiseled male dancers wearing gigantic, bouncing rubber boobs (at one point, the three of them rode a mic stand like a broomstick). At a festival with many stoic DJs, Black’s set was one of the weirdest, most carefree and entertaining. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>M.I.A. left the audience confused\u003c/h2>\n\u003cp>M.I.A.’s Sunday Portola set was perplexing. The U.K. star who came up in the 2000s as a champion of refugees and immigrants recently took a rightward turn, endorsing Donald Trump and aligning herself with conspiracy theorist Alex Jones. Between solid performances of hits like “Bad Girls” and “Bucky Done Gun,” she ranted about being canceled and inserted strange commentary that fell flat.\u003c/p>\n\u003cp>“Before Nicki had this wig, M.I.A. had this wig; before Rihanna had this wig, M.I.A. had this wig,” she said, pointing to a red wig not very reminiscent of either pop star. “Before Kamala Harris, there was M.I.A.” Huh?\u003c/p>\n\u003cp>High-energy performances of “XR2,” “Come Around” and “Bamboo Banga” harkened back to M.I.A.’s arrival on the scene with a completely fresh, global sound, but the rest of the set left a lot of people scratching their heads. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Disclosure’s feel-good dance floor\u003c/h2>\n\u003cp>U.K. house music giants Disclosure presided over a funky dance party at Portola’s main stage — their first time performing in San Francisco in eight years. Their 75-minute set reached back to early hits like the gospel sermon-infused “When a Fire Starts to Burn,” which the duo — consisting of Howard and Guy Lawrence — accented with live percussion, keys and bass. The brothers joked about dropping “a deep cut no one knows” before performing “Latch,” their mega-hit with Sam Smith. Throughout classics and newer tracks like “Douha (Mali Mali)” featuring Malian singer Fatoumata Diawara, the Lawrences switched between a drum kit, timbales, sample pads, an electronic xylophone and a collection of synths, clearly enjoying themselves and adding dynamism that kept the crowd guessing as they grooved. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>See more photos below. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Horsegiirl performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965762\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jpegmafia performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965748\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965738\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Empress Of performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965751\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soulwax performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deltron 3030 performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Honey Dijon performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965816\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fisher performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\" alt=\"\" width=\"1920\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1536x1017.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965758\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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