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Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so authentic and sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day said on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n","blocks":[],"excerpt":"Playing 'American Idiot' and 'Saviors' back-to-back, the band thrived in the small venue for a hometown crowd.","status":"publish","parent":0,"modified":1712690254,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1031},"headData":{"title":"Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show | KQED","description":"Playing 'American Idiot' and 'Saviors' back-to-back, the band thrived in the small venue for a hometown crowd.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show","datePublished":"2024-04-03T10:22:40.000Z","dateModified":"2024-04-09T19:17:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955312/review-green-day-fillmore-photos-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so authentic and sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day said on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955312/review-green-day-fillmore-photos-san-francisco","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_9964","arts_10278","arts_1543","arts_22057","arts_769","arts_1146","arts_2996"],"featImg":"arts_13955323","label":"arts"},"arts_13954949":{"type":"posts","id":"arts_13954949","meta":{"index":"posts_1591205157","site":"arts","id":"13954949","score":null,"sort":[1711654616000]},"guestAuthors":[],"slug":"green-day-fillmore-sf-get-tickets-livenation","title":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","publishDate":1711654616,"format":"standard","headTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>[aside postid='arts_13955312']Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.","status":"publish","parent":0,"modified":1712266564,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":287},"headData":{"title":"Where to Get Tickets for Green Day at The Fillmore | KQED","description":"The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.","ogTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","twDescription":"","twImgId":"","socialTitle":"Where to Get Tickets for Green Day at The Fillmore %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","datePublished":"2024-03-28T19:36:56.000Z","dateModified":"2024-04-04T21:36:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954949/green-day-fillmore-sf-get-tickets-livenation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955312","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954949/green-day-fillmore-sf-get-tickets-livenation","authors":["byline_arts_13954949"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_9964","arts_1407","arts_1543","arts_913","arts_1146","arts_585"],"featImg":"arts_12374066","label":"arts_140"},"arts_13917310":{"type":"posts","id":"arts_13917310","meta":{"index":"posts_1591205157","site":"arts","id":"13917310","score":null,"sort":[1659978669000]},"guestAuthors":[],"slug":"outside-lands-2022-photos-review","title":"Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park","publishDate":1659978669,"format":"standard","headTitle":"Outside Lands 2022: Photos and Highlights From the Festival’s Return to Golden Gate Park | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Outside Lands festival returned this past weekend to its traditional August dates in San Francisco’s Golden Gate Park. And while the venerable festival took one year off in 2020 due to COVID, and moved last year to October due to pandemic-related delays, this year’s return of the favorite end-of-summer festival didn’t seem to skip a beat.\u003c/p>\n\u003cp>Here’s what the scene was like, courtesy of Kristie Song and Estefany Gonzalez, with musical highlights and photos below.\u003c/p>\n\u003cfigure id=\"attachment_13917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duckwrth Brings the Power to Land’s End Stage\u003c/h2>\n\u003cp>As a mid-afternoon drowsiness fell upon Friday’s crowd, there was no better act than Duckwrth to bring them back to life. Opening with two of his most energetic hits, “Coming Closer” and “Power Power,” the musician danced across the stage, smiling and flexing his arms as he sang and rapped. In no time, attendees began to dance and light up their joints, carefree and revitalized by his infectious aura.\u003c/p>\n\u003cp>Dressed in a custom black suit with a chrome bull on the back in a nod to his upcoming EP, Duckwrth previewed three of its singles to a delighted crowd. During “Ce Soir,” a collaboration with musician Syd that was just released that same morning, Duckwrth moved his hips to the song’s mellow beat and rapped the chorus in French as the crowd shimmied.\u003c/p>\n\u003cp>Duckwrth was joined by vocalist Olivia Walker, known as Just Liv, whose soulful singing and lively dancing only added to the invigorating atmosphere. Together, they performed slow, sexy classics like “Crush” and “Kiss U Right Now” as well as an untitled, heavy metal-tinged single. As he transferred his energy to the crowd, and as they delivered it right back, Duckwrth demonstrated that it is possible to have an audience completely wrapped around your finger.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Mar%C3%ADas-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marías perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Marías Bring Romantic Mystery\u003c/h2>\n\u003cp>Set against a large, blood red backdrop, Maria Zardoya of the psychedelic indie-rock band the Marías looked like an angel who had fallen into hell. In a distressed white dress with matching gloves, Zardoya carried her sultry, pixie-like voice across the crowd like a spell. Suddenly, everyone felt a little seductive and mysterious too, swaying their hips and shoulders to “All I Really Want Is You,” “Hush” and “Otro Atardecer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Saturday’s headliner Kali Uchis, Zardoya sang in both English and Spanish, blending the languages into silky songs of love and yearning. Her entrancing voice was accompanied by dreamy instrumentals that felt like waking from deep slumber by the sea, especially during “Only in My Dreams.” Slow, romantic and affecting, her music belongs in the most intimate of spaces, personified by cigarette smoke and black-and-white films.\u003c/p>\n\u003cp>With grand trumpet solos from band member Gabe Steiner and low, haunting backing vocals from guitarist Jesse Perlman and drummer Josh Conway, Zardoya’s soft, distinctive voice transformed into an entity—a story. During “Cariño,” a couple in the crowd held one another close, leaning in for kisses as Zardoya sang: “You’re a masterpiece / Just by only looking at you, it’s something that gives me peace / Darling, you’re lovely / Darling, you paint in color.”\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Phoebe Bridgers Has ‘Em in the Palm of Her Hand\u003c/h2>\n\u003cp>Packed like sardines, the crowd waiting for Phoebe Bridgers on Friday night collectively screamed when she entered, dressed in a suit and bowtie, guitar in hand, silver tresses blowing in the wind. The Polo Field became a congregation, and hearing her soft voice live enveloped by stripped-down instrumentals beneath a dark sky and light dew was almost spiritual. Shoulder-to-shoulder, attendees sang along—some with tears in their eyes—as Bridgers played hits like “Motion Sickness,” “Kyoto,” Savior Complex” and “Chinese Satellite.”\u003c/p>\n\u003cp>In between songs, the Ukiah-raised Bridgers was sparse with words. When introducing “Funeral,” she offered just one line. “Um,” she said. “This one is an enormous bummer.” For “ICU,” she offered something similarly vague: “This is about the time I cried in a grocery store parking lot.”\u003c/p>\n\u003cp>These short, vague prefaces allowed a brief release for the crowd before being returned to the intimate landscapes of the quiet artist’s mind in the hour-long set. Holding this in their memories, the crowd stifled cheers during songs, looking up hopefully at someone who sang about a feeling that still bubbled in their hearts.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SZA’s Glow-Up\u003c/h2>\n\u003cp>SZA wowed the crowd at the Lands End stage with one of the most intricates set at this year’s festival. Starting her set atop a lighthouse, the R&B singer had fans hanging on her every word from the moment she took the stage. The life-sized anchor, marine projections and custom-made pier took the audience to a musical paradise where SZA reigns as queen.\u003c/p>\n\u003cp>The night was a clear glow-up from the minimalist approach of SZA’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2018 headlining set in Oakland\u003c/a>. Her growth was not only evident in the stage design but her overall stage presence, with elaborate synchronized dance numbers and a colorful wardrobe.\u003c/p>\n\u003cp>Kicking things off with “All The Stars,” the singer’s collaboration with Kendrick Lamar, the night was full of new and old hits, including “Love Galore,” “The Weekend,” and “Normal Girl.”\u003c/p>\n\u003cp>Most impressively, SZA did this all after shortly recovering from COVID-19 last week. As she told the audience: “I was definitely fighting for my life to be with you.”—E.G.\u003c/p>\n\u003cfigure id=\"attachment_13917271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mac DeMarco: ‘They’re All Love Songs!’\u003c/h2>\n\u003cp>Known for alternative indie-rock classics and a history of unpredictable stage antics, Mac DeMarco began his Saturday set with mellow 2014 single “Salad Days.” Flashing his famous gap-toothed smile, his \u003cem>La-li-la-lala\u003c/em>s were mirrored by dedicated fans in the audience.\u003c/p>\n\u003cp>DeMarco’s ease on stage showed when he swung his mic around during “Chamber of Reflection,” cheekily smiling when it distorted the sound; when he periodically yelled during songs; and when, during a jazzy interlude of “Still Together,” he walked to each of his bandmates and asked them to improvise scat singing.\u003c/p>\n\u003cp>In his signature green bucket hat with a yellow smiley face, DeMarco laughed often and was eager to shout out his band members: guitarist Alec Meen, bassist Daryl Johns and drummer JD Beck. Together, they looked like a group of garage band kids, ecstatic to be in each other’s company as they played nostalgic riffs and sang along to the tender lyrics of DeMarco’s wide discography.\u003c/p>\n\u003cp>At one point, DeMarco admitted, “They’re all love songs!” With this in mind, it was hard not to have someone special in mind as he sang “Baby’s Wearing Blue Jeans,” “Let Her Go,” “Another One” and the rest of the set. Wistful and sincere, the evening was permeated with a feeling of yearning that stayed long after he played.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parcels perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Parcels Electrify Crowds with Funk and Disco\u003c/h2>\n\u003cp>People eager to dance and groove packed the Sutro stage at dusk, awaiting the arrival of five-piece Australian band Parcels. When the clock struck seven, the members launched into a long musical intro, slowly building a simple guitar riff into a multilayered jam session with lush keyboard, drums and bass playing. After several minutes, this transitioned into their hit single, “Lightenup,” a soulful funk song with hypnotic vocal harmonizations reminiscent of Bee Gees-era disco.\u003c/p>\n\u003cp>As the last remnants of the day’s sun warmed the stage, guitarist and lead vocalist Jules Crommelin greeted the crowd. “San Francisco, this place is the best,” he said, smiling. “And the smell man. The smell! So good.”\u003c/p>\n\u003cp>With their remaining time, the Parcels played other crowd pleasers that included “Tieduprightnow,” “IknowhowIFeel” and an exhilarating cover of Lykke Li’s “I Follow Rivers” that blended the group’s penchant for genre melding and long, satisfying instrumental interludes that climb to euphoric and cinematic climaxes.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kali Uchis Serves Superstar Presence\u003c/h2>\n\u003cp>When R&B singer Kali Uchis strutted on stage Saturday night, attendees shivering in the cold suddenly lit up, jumping to their feet. Dressed in an all-white ensemble and donning her signature smokey cat eye and glossy pout, Uchis opened with “Dead to Me” while fiercely sashaying and gesturing to the audience. Uchis’ powerful dismissal of an obsessive former flame had crowd members shouting along to every word of the independent-hot-girl anthem.\u003c/p>\n\u003cp>As the music transitioned into the smooth house beats of “10%,” Uchis delivered commanding glances as she sang, one hand holding the mic and the other performing precise choreography in sync with her backup dancers. Despite a few audio issues, Uchis put on a captivating performance, embodying a siren-like quality with her velvety contralto vocals, enchanting stares and sensual dance moves. Singing in both Spanish and English, Uchis performed hits like “fue mejor” and “no eres tu (soy yo)” from her 2020 Spanish album \u003cem>Sin Miedo (del Amor y Otros Demonios)\u003c/em>, and even some older songs like “Loner” and “Speed” from her 2015’s \u003cem>Por Vida\u003c/em>.\u003c/p>\n\u003cp>Bathed in pink and purple light, Uchis bewitched the stage, and her voice—airy one moment and soulful the next—stirred the cold out of weary festival goers, ending the night with heat and dance.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dominic Fike Jumps From the Screen to the Stage\u003c/h2>\n\u003cp>You may know Dominic Fike as one of the leads of HBO’s Emmy award-winning show \u003cem>Euphoria\u003c/em>, or as Lil Nas X’s love interest in Brockhampton’s music video for “Count On Me.” But for those who caught the actor’s set on Friday afternoon, Fike left his mark as a musician.\u003c/p>\n\u003cp>Coming off as a mix of an old soul and TikTok sensation, Fike fittingly kicked off with a cover of “Bad Reputation” by Joan Jett & the Blackhearts before launching into original numbers “Baby Doll” and “She Wants My Money,” the latter of which included an impressive guitar solo. Fike also performed “The Kiss Of Venus,” a song that he worked on with Paul McCartney.\u003c/p>\n\u003cp>Joined by New York musician Blu DeTiger on the bass, a star in her own right, Fike performed with a skilled set of young instrumentalists. The audience was mostly composed of young faces who sang along at the end, when Fike played his biggest hit to date, “3 Nights.”\u003c/p>\n\u003cfigure id=\"attachment_13917293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Post Malone, the Relatable Sunday-Night Star\u003c/h2>\n\u003cp>Post Malone was all smiles at the Land End stage on Sunday Night. Raising a toast to the crowd with a red solo cup, the singer’s carefree attitude carried across Golden Gate Park.\u003c/p>\n\u003cp>Dressed in Converse high-tops, cutoff butterfly shorts and a large t-shirt, the Grammy award-winning artist could have passed for one of the many concertgoers who spent the weekend partying and enjoying music. Perhaps that explains his appeal: watching Malone perform felt like hanging out with a friend. He made heart shapes with his hands and directed them at people in the front row. He reached over the stage railing to fist-bump fans.\u003c/p>\n\u003cp>During “Circles” and “Better Now,” even those who’d been napping on the field seemed to rally enough energy to cheer for the closing set of the festival.\u003cem>—E.G.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos below. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13917287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Uzi Vert performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"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, 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\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weezer perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Petras performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and Thuy perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>( Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917242\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tree performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wet Leg perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917244\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"SZA, Kali Uchis, Post Malone, Phoebe Bridgers, Green Day and others highlighted the return of Outside Lands in San Francisco.","status":"publish","parent":0,"modified":1705006520,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2441},"headData":{"title":"Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park | KQED","description":"SZA, Kali Uchis, Post Malone, Phoebe Bridgers, Green Day and others highlighted the return of Outside Lands in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park","datePublished":"2022-08-08T17:11:09.000Z","dateModified":"2024-01-11T20:55:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"outside-lands-2022-photos-and-highlights-from-the-festivals-return-to-golden-gate-park","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13917310/outside-lands-2022-photos-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Outside Lands festival returned this past weekend to its traditional August dates in San Francisco’s Golden Gate Park. And while the venerable festival took one year off in 2020 due to COVID, and moved last year to October due to pandemic-related delays, this year’s return of the favorite end-of-summer festival didn’t seem to skip a beat.\u003c/p>\n\u003cp>Here’s what the scene was like, courtesy of Kristie Song and Estefany Gonzalez, with musical highlights and photos below.\u003c/p>\n\u003cfigure id=\"attachment_13917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duckwrth Brings the Power to Land’s End Stage\u003c/h2>\n\u003cp>As a mid-afternoon drowsiness fell upon Friday’s crowd, there was no better act than Duckwrth to bring them back to life. Opening with two of his most energetic hits, “Coming Closer” and “Power Power,” the musician danced across the stage, smiling and flexing his arms as he sang and rapped. In no time, attendees began to dance and light up their joints, carefree and revitalized by his infectious aura.\u003c/p>\n\u003cp>Dressed in a custom black suit with a chrome bull on the back in a nod to his upcoming EP, Duckwrth previewed three of its singles to a delighted crowd. During “Ce Soir,” a collaboration with musician Syd that was just released that same morning, Duckwrth moved his hips to the song’s mellow beat and rapped the chorus in French as the crowd shimmied.\u003c/p>\n\u003cp>Duckwrth was joined by vocalist Olivia Walker, known as Just Liv, whose soulful singing and lively dancing only added to the invigorating atmosphere. Together, they performed slow, sexy classics like “Crush” and “Kiss U Right Now” as well as an untitled, heavy metal-tinged single. As he transferred his energy to the crowd, and as they delivered it right back, Duckwrth demonstrated that it is possible to have an audience completely wrapped around your finger.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Mar%C3%ADas-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marías perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Marías Bring Romantic Mystery\u003c/h2>\n\u003cp>Set against a large, blood red backdrop, Maria Zardoya of the psychedelic indie-rock band the Marías looked like an angel who had fallen into hell. In a distressed white dress with matching gloves, Zardoya carried her sultry, pixie-like voice across the crowd like a spell. Suddenly, everyone felt a little seductive and mysterious too, swaying their hips and shoulders to “All I Really Want Is You,” “Hush” and “Otro Atardecer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Saturday’s headliner Kali Uchis, Zardoya sang in both English and Spanish, blending the languages into silky songs of love and yearning. Her entrancing voice was accompanied by dreamy instrumentals that felt like waking from deep slumber by the sea, especially during “Only in My Dreams.” Slow, romantic and affecting, her music belongs in the most intimate of spaces, personified by cigarette smoke and black-and-white films.\u003c/p>\n\u003cp>With grand trumpet solos from band member Gabe Steiner and low, haunting backing vocals from guitarist Jesse Perlman and drummer Josh Conway, Zardoya’s soft, distinctive voice transformed into an entity—a story. During “Cariño,” a couple in the crowd held one another close, leaning in for kisses as Zardoya sang: “You’re a masterpiece / Just by only looking at you, it’s something that gives me peace / Darling, you’re lovely / Darling, you paint in color.”\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Phoebe Bridgers Has ‘Em in the Palm of Her Hand\u003c/h2>\n\u003cp>Packed like sardines, the crowd waiting for Phoebe Bridgers on Friday night collectively screamed when she entered, dressed in a suit and bowtie, guitar in hand, silver tresses blowing in the wind. The Polo Field became a congregation, and hearing her soft voice live enveloped by stripped-down instrumentals beneath a dark sky and light dew was almost spiritual. Shoulder-to-shoulder, attendees sang along—some with tears in their eyes—as Bridgers played hits like “Motion Sickness,” “Kyoto,” Savior Complex” and “Chinese Satellite.”\u003c/p>\n\u003cp>In between songs, the Ukiah-raised Bridgers was sparse with words. When introducing “Funeral,” she offered just one line. “Um,” she said. “This one is an enormous bummer.” For “ICU,” she offered something similarly vague: “This is about the time I cried in a grocery store parking lot.”\u003c/p>\n\u003cp>These short, vague prefaces allowed a brief release for the crowd before being returned to the intimate landscapes of the quiet artist’s mind in the hour-long set. Holding this in their memories, the crowd stifled cheers during songs, looking up hopefully at someone who sang about a feeling that still bubbled in their hearts.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SZA’s Glow-Up\u003c/h2>\n\u003cp>SZA wowed the crowd at the Lands End stage with one of the most intricates set at this year’s festival. Starting her set atop a lighthouse, the R&B singer had fans hanging on her every word from the moment she took the stage. The life-sized anchor, marine projections and custom-made pier took the audience to a musical paradise where SZA reigns as queen.\u003c/p>\n\u003cp>The night was a clear glow-up from the minimalist approach of SZA’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2018 headlining set in Oakland\u003c/a>. Her growth was not only evident in the stage design but her overall stage presence, with elaborate synchronized dance numbers and a colorful wardrobe.\u003c/p>\n\u003cp>Kicking things off with “All The Stars,” the singer’s collaboration with Kendrick Lamar, the night was full of new and old hits, including “Love Galore,” “The Weekend,” and “Normal Girl.”\u003c/p>\n\u003cp>Most impressively, SZA did this all after shortly recovering from COVID-19 last week. As she told the audience: “I was definitely fighting for my life to be with you.”—E.G.\u003c/p>\n\u003cfigure id=\"attachment_13917271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mac DeMarco: ‘They’re All Love Songs!’\u003c/h2>\n\u003cp>Known for alternative indie-rock classics and a history of unpredictable stage antics, Mac DeMarco began his Saturday set with mellow 2014 single “Salad Days.” Flashing his famous gap-toothed smile, his \u003cem>La-li-la-lala\u003c/em>s were mirrored by dedicated fans in the audience.\u003c/p>\n\u003cp>DeMarco’s ease on stage showed when he swung his mic around during “Chamber of Reflection,” cheekily smiling when it distorted the sound; when he periodically yelled during songs; and when, during a jazzy interlude of “Still Together,” he walked to each of his bandmates and asked them to improvise scat singing.\u003c/p>\n\u003cp>In his signature green bucket hat with a yellow smiley face, DeMarco laughed often and was eager to shout out his band members: guitarist Alec Meen, bassist Daryl Johns and drummer JD Beck. Together, they looked like a group of garage band kids, ecstatic to be in each other’s company as they played nostalgic riffs and sang along to the tender lyrics of DeMarco’s wide discography.\u003c/p>\n\u003cp>At one point, DeMarco admitted, “They’re all love songs!” With this in mind, it was hard not to have someone special in mind as he sang “Baby’s Wearing Blue Jeans,” “Let Her Go,” “Another One” and the rest of the set. Wistful and sincere, the evening was permeated with a feeling of yearning that stayed long after he played.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parcels perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Parcels Electrify Crowds with Funk and Disco\u003c/h2>\n\u003cp>People eager to dance and groove packed the Sutro stage at dusk, awaiting the arrival of five-piece Australian band Parcels. When the clock struck seven, the members launched into a long musical intro, slowly building a simple guitar riff into a multilayered jam session with lush keyboard, drums and bass playing. After several minutes, this transitioned into their hit single, “Lightenup,” a soulful funk song with hypnotic vocal harmonizations reminiscent of Bee Gees-era disco.\u003c/p>\n\u003cp>As the last remnants of the day’s sun warmed the stage, guitarist and lead vocalist Jules Crommelin greeted the crowd. “San Francisco, this place is the best,” he said, smiling. “And the smell man. The smell! So good.”\u003c/p>\n\u003cp>With their remaining time, the Parcels played other crowd pleasers that included “Tieduprightnow,” “IknowhowIFeel” and an exhilarating cover of Lykke Li’s “I Follow Rivers” that blended the group’s penchant for genre melding and long, satisfying instrumental interludes that climb to euphoric and cinematic climaxes.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kali Uchis Serves Superstar Presence\u003c/h2>\n\u003cp>When R&B singer Kali Uchis strutted on stage Saturday night, attendees shivering in the cold suddenly lit up, jumping to their feet. Dressed in an all-white ensemble and donning her signature smokey cat eye and glossy pout, Uchis opened with “Dead to Me” while fiercely sashaying and gesturing to the audience. Uchis’ powerful dismissal of an obsessive former flame had crowd members shouting along to every word of the independent-hot-girl anthem.\u003c/p>\n\u003cp>As the music transitioned into the smooth house beats of “10%,” Uchis delivered commanding glances as she sang, one hand holding the mic and the other performing precise choreography in sync with her backup dancers. Despite a few audio issues, Uchis put on a captivating performance, embodying a siren-like quality with her velvety contralto vocals, enchanting stares and sensual dance moves. Singing in both Spanish and English, Uchis performed hits like “fue mejor” and “no eres tu (soy yo)” from her 2020 Spanish album \u003cem>Sin Miedo (del Amor y Otros Demonios)\u003c/em>, and even some older songs like “Loner” and “Speed” from her 2015’s \u003cem>Por Vida\u003c/em>.\u003c/p>\n\u003cp>Bathed in pink and purple light, Uchis bewitched the stage, and her voice—airy one moment and soulful the next—stirred the cold out of weary festival goers, ending the night with heat and dance.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dominic Fike Jumps From the Screen to the Stage\u003c/h2>\n\u003cp>You may know Dominic Fike as one of the leads of HBO’s Emmy award-winning show \u003cem>Euphoria\u003c/em>, or as Lil Nas X’s love interest in Brockhampton’s music video for “Count On Me.” But for those who caught the actor’s set on Friday afternoon, Fike left his mark as a musician.\u003c/p>\n\u003cp>Coming off as a mix of an old soul and TikTok sensation, Fike fittingly kicked off with a cover of “Bad Reputation” by Joan Jett & the Blackhearts before launching into original numbers “Baby Doll” and “She Wants My Money,” the latter of which included an impressive guitar solo. Fike also performed “The Kiss Of Venus,” a song that he worked on with Paul McCartney.\u003c/p>\n\u003cp>Joined by New York musician Blu DeTiger on the bass, a star in her own right, Fike performed with a skilled set of young instrumentalists. The audience was mostly composed of young faces who sang along at the end, when Fike played his biggest hit to date, “3 Nights.”\u003c/p>\n\u003cfigure id=\"attachment_13917293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Post Malone, the Relatable Sunday-Night Star\u003c/h2>\n\u003cp>Post Malone was all smiles at the Land End stage on Sunday Night. Raising a toast to the crowd with a red solo cup, the singer’s carefree attitude carried across Golden Gate Park.\u003c/p>\n\u003cp>Dressed in Converse high-tops, cutoff butterfly shorts and a large t-shirt, the Grammy award-winning artist could have passed for one of the many concertgoers who spent the weekend partying and enjoying music. Perhaps that explains his appeal: watching Malone perform felt like hanging out with a friend. He made heart shapes with his hands and directed them at people in the front row. He reached over the stage railing to fist-bump fans.\u003c/p>\n\u003cp>During “Circles” and “Better Now,” even those who’d been napping on the field seemed to rally enough energy to cheer for the closing set of the festival.\u003cem>—E.G.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos below. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13917287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Uzi Vert performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"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, 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\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weezer perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Petras performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and Thuy perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>( Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917242\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tree performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wet Leg perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917244\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917310/outside-lands-2022-photos-review","authors":["11813","11384"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_1543","arts_1694","arts_1739","arts_2111","arts_924","arts_769"],"featImg":"arts_13917261","label":"arts"},"arts_13912128":{"type":"posts","id":"arts_13912128","meta":{"index":"posts_1591205157","site":"arts","id":"13912128","score":null,"sort":[1650387614000]},"guestAuthors":[],"slug":"green-day-sza-post-malone-headline-outside-lands-2022","title":"Green Day, SZA, Post Malone to Headline Outside Lands 2022","publishDate":1650387614,"format":"standard","headTitle":"Green Day, SZA, Post Malone to Headline Outside Lands 2022 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. [aside postid='arts_13905536']\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The festival returns Aug. 5-7 with performances by Pusha T, Phoebe Bridgers and many more. ","status":"publish","parent":0,"modified":1705006961,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":336},"headData":{"title":"Green Day, SZA, Post Malone to Headline Outside Lands 2022 | KQED","description":"The festival returns Aug. 5-7 with performances by Pusha T, Phoebe Bridgers and many more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Green Day, SZA, Post Malone to Headline Outside Lands 2022","datePublished":"2022-04-19T17:00:14.000Z","dateModified":"2024-01-11T21:02:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13912128/green-day-sza-post-malone-headline-outside-lands-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905536","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13912128/green-day-sza-post-malone-headline-outside-lands-2022","authors":["11387"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_1543","arts_4418","arts_585"],"featImg":"arts_13912134","label":"arts"},"arts_13905411":{"type":"posts","id":"arts_13905411","meta":{"index":"posts_1591205157","site":"arts","id":"13905411","score":null,"sort":[1635458725000]},"guestAuthors":[],"slug":"ok-so-youre-a-punk-rock-sellout-now-what","title":"OK, So You're a Punk Rock 'Sellout.' Now What?","publishDate":1635458725,"format":"standard","headTitle":"OK, So You’re a Punk Rock ‘Sellout.’ Now What? | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cwyh9cCUzRI\u003c/p>\n\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13804539']“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9-SQGOYOjxs\u003c/p>\n\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nCvRT2sy5FE\u003c/p>\n\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>[aside postid='arts_13894169']“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"In his new book, 'Sellout,' Dan Ozzi traces the battles between major and indie labels that dominated '90s punk.","status":"publish","parent":0,"modified":1705007549,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1016},"headData":{"title":"OK, So You're a Punk Rock 'Sellout.' Now What? | KQED","description":"In his new book, 'Sellout,' Dan Ozzi traces the battles between major and indie labels that dominated '90s punk.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"OK, So You're a Punk Rock 'Sellout.' Now What?","datePublished":"2021-10-28T22:05:25.000Z","dateModified":"2024-01-11T21:12:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew Limbong","nprImageAgency":"Houghton Mifflin Harcourt","nprStoryId":"1048005853","nprApiLink":"http://api.npr.org/query?id=1048005853&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/10/27/1048005853/sellout-dan-ozzi-punk-music-industry?ft=nprml&f=1048005853","nprRetrievedStory":"1","nprPubDate":"Thu, 28 Oct 2021 08:44:00 -0400","nprStoryDate":"Wed, 27 Oct 2021 17:04:06 -0400","nprLastModifiedDate":"Thu, 28 Oct 2021 08:44:02 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/10/20211026_atc_ok_so_youre_a_sellout_now_what_.mp3?orgId=1&topicId=1008&d=304&p=2&story=1048005853&ft=nprml&f=1048005853","nprAudioM3u":"http://api.npr.org/m3u/11049381436-841338.m3u?orgId=1&topicId=1008&d=304&p=2&story=1048005853&ft=nprml&f=1048005853","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905411/ok-so-youre-a-punk-rock-sellout-now-what","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/10/20211026_atc_ok_so_youre_a_sellout_now_what_.mp3?orgId=1&topicId=1008&d=304&p=2&story=1048005853&ft=nprml&f=1048005853","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Cwyh9cCUzRI'\n title='//www.youtube.com/embed/Cwyh9cCUzRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13804539","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9-SQGOYOjxs'\n title='//www.youtube.com/embed/9-SQGOYOjxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nCvRT2sy5FE'\n title='//www.youtube.com/embed/nCvRT2sy5FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894169","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905411/ok-so-youre-a-punk-rock-sellout-now-what","authors":["byline_arts_13905411"],"categories":["arts_1","arts_73","arts_69"],"tags":["arts_15961","arts_1543","arts_913","arts_905"],"affiliates":["arts_137"],"featImg":"arts_13905414","label":"arts_137"},"arts_13875669":{"type":"posts","id":"arts_13875669","meta":{"index":"posts_1591205157","site":"arts","id":"13875669","score":null,"sort":[1582909813000]},"guestAuthors":[],"slug":"coronavirus-concerns-cancel-tour-dates-for-pop-groups-rock-bands-orchestras","title":"Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras","publishDate":1582909813,"format":"standard","headTitle":"Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n","blocks":[],"excerpt":"BTS, Green Day and the National Symphony Orchestra have all canceled upcoming Asian tour dates. ","status":"publish","parent":0,"modified":1705021206,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":500},"headData":{"title":"Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras | KQED","description":"BTS, Green Day and the National Symphony Orchestra have all canceled upcoming Asian tour dates. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras","datePublished":"2020-02-28T17:10:13.000Z","dateModified":"2024-01-12T01:00:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Hyung-Jin Kim, Associated Press, and Gabe Meline, KQED","templateType":"standard","featuredImageType":"standard","path":"/arts/13875669/coronavirus-concerns-cancel-tour-dates-for-pop-groups-rock-bands-orchestras","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875669/coronavirus-concerns-cancel-tour-dates-for-pop-groups-rock-bands-orchestras","authors":["byline_arts_13875669"],"categories":["arts_69","arts_235"],"tags":["arts_10124","arts_10126","arts_10127","arts_1543"],"featImg":"arts_13875671","label":"arts"},"arts_13871151":{"type":"posts","id":"arts_13871151","meta":{"index":"posts_1591205157","site":"arts","id":"13871151","score":null,"sort":[1575939692000]},"guestAuthors":[],"slug":"murray-bowles-legendary-bay-area-punk-photographer-dies-at-68","title":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68","publishDate":1575939692,"format":"standard","headTitle":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were in.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Shooting from the crowd, Bowles captured the intimate energy of punk's brightest figures.","status":"publish","parent":0,"modified":1705021706,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1321},"headData":{"title":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED","description":"Shooting from the crowd, Bowles captured the intimate energy of punk's brightest figures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68","datePublished":"2019-12-10T01:01:32.000Z","dateModified":"2024-01-12T01:08:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were in.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68","authors":["185"],"categories":["arts_835","arts_69","arts_235","arts_1564","arts_70"],"tags":["arts_1118","arts_1543","arts_822","arts_913"],"featImg":"arts_13871186","label":"arts"},"arts_13861743":{"type":"posts","id":"arts_13861743","meta":{"index":"posts_1591205157","site":"arts","id":"13861743","score":null,"sort":[1563558662000]},"guestAuthors":[],"slug":"the-do-list-listen-to-our-weekend-picks-for-july-19-21","title":"The Do List: Listen to Our Weekend Picks for July 19–21","publishDate":1563558662,"format":"audio","headTitle":"The Do List: Listen to Our Weekend Picks for July 19–21 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"A celebration at Lake Merritt, a Green Day side project, an art book extravaganza and more this weekend.","status":"publish","parent":0,"modified":1705022517,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":374},"headData":{"title":"The Do List: Listen to Our Weekend Picks for July 19–21 | KQED","description":"A celebration at Lake Merritt, a Green Day side project, an art book extravaganza and more this weekend.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: Listen to Our Weekend Picks for July 19–21","datePublished":"2019-07-19T17:51:02.000Z","dateModified":"2024-01-12T01:21:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2050/05/The-Do-List-for-the-Week-of-July-18-21-2019.mp3","sticky":false,"audioTrackLength":269,"templateType":"standard","featuredImageType":"standard","path":"/arts/13861743/the-do-list-listen-to-our-weekend-picks-for-july-19-21","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861743/the-do-list-listen-to-our-weekend-picks-for-july-19-21","authors":["185","61"],"programs":["arts_140"],"categories":["arts_73","arts_835","arts_74","arts_69","arts_75","arts_70"],"tags":["arts_928","arts_1118","arts_1543","arts_1785","arts_1694","arts_1381","arts_1334"],"featImg":"arts_13832894","label":"arts_140"},"arts_13844052":{"type":"posts","id":"arts_13844052","meta":{"index":"posts_1591205157","site":"arts","id":"13844052","score":null,"sort":[1541147410000]},"guestAuthors":[],"slug":"vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher","title":"Vince Staples and Green Day: Talking With 'Dookie' Cover Artist Richie Bucher","publishDate":1541147410,"format":"image","headTitle":"Vince Staples and Green Day: Talking With ‘Dookie’ Cover Artist Richie Bucher | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>You may not know the name Richie Bucher, but you’ve almost certainly seen his artwork.\u003c/p>\n\u003cp>Bucher, an East Bay \u003ca href=\"http://www.rbucherart.com/\" rel=\"noopener\" target=\"_blank\">artist\u003c/a> and \u003ca href=\"https://www.discogs.com/artist/1377685-Richie-Bucher\" rel=\"noopener\" target=\"_blank\">musician\u003c/a>, drew the cover art for Green Day’s \u003cem>Dookie\u003c/em>, an album that’s sold 20 million copies. The record cover is now as iconic as it is detailed—one that teenagers around the world have stared into for hours on end, getting lost in its Berkeley in-jokes, characters, and pop-culture references. \u003c/p>\n\u003cp>Today, rapper Vince Staples released his new album, \u003ca href=\"https://vincestaples.lnk.to/FM\" rel=\"noopener\" target=\"_blank\">\u003cem>FM!\u003c/em>\u003c/a>, and the cover is a clear tribute to Green Day’s \u003cem>Dookie\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/CoversSidebySide-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" class=\"aligncenter size-medium wp-image-13844063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-1020x467.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Instead of Telegraph Avenue in Berkeley, the scene is Long Beach, Staples’ hometown. But the style is the same, and the details are familiar—including the arced 3D lettering, the flying aircraft, the police, and the “Cool God” in the upper right-hand corner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I called up Bucher the day of \u003cem>FM!\u003c/em>‘s release to see what he thinks of Vince Staples’ homage.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>So, did you know who Vince Staples was before tonight?\u003c/strong>\u003c/p>\n\u003cp>No! I don’t know Vince Staples. I just listened to it, it sounds pretty good.\u003c/p>\n\u003cp>\u003cstrong>What do you think of his album cover?\u003c/strong>\u003c/p>\n\u003cp>I think it’s really cool! I just looked at it a little more closely, and I gotta say, I love stuff like this. It seems really clever and respectful. I have absolutely nothing bad to say about it—I think it’s really cool.\u003c/p>\n\u003cfigure id=\"attachment_13844067\" class=\"wp-caption aligncenter\" style=\"max-width: 453px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Richie.Artshow.jpg\" alt=\"Richie Bucher.\" width=\"453\" height=\"453\" class=\"size-full wp-image-13844067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow.jpg 453w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-150x150.jpg 150w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003cfigcaption class=\"wp-caption-text\">Richie Bucher.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’ve been \u003ca href=\"https://www.picclickimg.com/d/l400/pict/323501516742_/GREEN-DAY-GUM-DAY-Dookie-Stickie-spoof.jpg\" rel=\"noopener\" target=\"_blank\">plenty\u003c/a> \u003ca href=\"https://derpicdn.net/img/2012/8/1/63828/large.png\" rel=\"noopener\" target=\"_blank\">spoofs\u003c/a> or \u003ca href=\"https://i.redd.it/ca15p4kyrgoy.jpg\" rel=\"noopener\" target=\"_blank\">tributes\u003c/a> over the years of the \u003cem>Dookie\u003c/em> cover. Do you see them all?\u003c/strong>\u003c/p>\n\u003cp>I don’t have any way of seeing all the stuff, unless someone sends it to me. But I don’t think I’ve ever seen anything that I didn’t get a kick out of. I’m always really flattered by it. Why would they bother doing it if they didn’t enjoy what I did?\u003c/p>\n\u003cp>Growing up, drawing, I had my influences. The \u003cem>Dookie\u003c/em> cover that I did was an homage to other artists as well. So if somebody younger is doing something that’s a takeoff of what I did, it’s just part of a long line of art tradition. It’s a lucky crowd to be part of.\u003c/p>\n\u003cp>\u003cstrong>What sort of artists were you paying homage to with \u003cem>Dookie\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Specifically, Gilbert Shelton—he did \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Fabulous_Furry_Freak_Brothers\" rel=\"noopener\" target=\"_blank\">The Fabulous Furry Freak Brothers\u003c/a>\u003c/em>, and I grew up loving that stuff—but he did a cover for the Grateful Dead album \u003cem>\u003ca href=\"https://images-na.ssl-images-amazon.com/images/I/91oM2vyXD7L._SL1500_.jpg\" rel=\"noopener\" target=\"_blank\">Shakedown Street\u003c/a>\u003c/em>. Another big one was John Holmstrom, who did \u003ca href=\"https://greenandblackmusic.com/home/2016/05/01/rocket-to-russia-the-punk-rock-art-of-the-ramones/\" rel=\"noopener\" target=\"_blank\">the Ramones’ \u003cem>Rocket to Russia\u003c/em>\u003c/a>. That’s where “Eat at Chef Wong’s” comes from, it’s on someone’s T-shirt on the lyric sheet. And the other pretty direct influence was the band War, and \u003cem>\u003ca href=\"https://images.genius.com/03254402acffbc8defb4f05f05474548.1000x1000x1.jpg\" rel=\"noopener\" target=\"_blank\">The World Is a Ghetto\u003c/a>\u003c/em> artwork, and the artwork for \u003cem>\u003ca href=\"https://c1.staticflickr.com/8/7222/7276466912_b299d7d5ab_b.jpg\" rel=\"noopener\" target=\"_blank\">Why Can’t We Be Friends?\u003c/a>\u003c/em> All that stuff, that was the feeling around Berkeley when I was growing up. Just a whole bunch of people getting down and living together in the city. That was the feeling that I wanted to convey. \u003c/p>\n\u003cp>Listening to Vince Staples tonight, and looking at his artwork, it’s like, they have their world, they have their feeling, and that’s what \u003cem>they’re\u003c/em> trying to convey! It’s the same sentiment, but their localized version, and that’s cool. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/War.Freak_-800x281.jpg\" alt=\"\" width=\"800\" height=\"281\" class=\"aligncenter size-medium wp-image-13844065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-800x281.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-160x56.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-768x270.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-1020x359.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-960x338.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-240x84.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-375x132.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-520x183.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Did anyone from Vince Staples’ team or label get in touch with you about it?\u003c/strong>\u003c/p>\n\u003cp>No, not at all.\u003c/p>\n\u003cp>\u003cstrong>What are you doing nowadays? I saw that \u003cem>New Noise\u003c/em> magazine with \u003ca href=\"http://www.rbucherart.com/img/ART-New-Noise-Cover.jpg\" rel=\"noopener\" target=\"_blank\">your artwork on the cover\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I’ve been doing things like that. I’ve been doing a couple of commissions. Longer term, I’ve been working on graphic stories that I want to compile into a book. And working on paintings here and there. Some stuff for my dad. Just a couple different projects that are going simultaneously. \u003c/p>\n\u003cp>\u003cstrong>How can people get in touch with you?\u003c/strong>\u003c/p>\n\u003cp>I have a \u003ca href=\"http://www.rbucherart.com/\" rel=\"noopener\" target=\"_blank\">website\u003c/a>. And of course, people can keep up with my art \u003ca href=\"https://www.instagram.com/richiebuchzart/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Vince Staples' 'FM' album cover pays tribute to Green Day—so we chatted with the original artist for 'Dookie' about it.","status":"publish","parent":0,"modified":1705027062,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":714},"headData":{"title":"Vince Staples and Green Day: Talking With 'Dookie' Cover Artist Richie Bucher | KQED","description":"Vince Staples' 'FM' album cover pays tribute to Green Day—so we chatted with the original artist for 'Dookie' about it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Vince Staples and Green Day: Talking With 'Dookie' Cover Artist Richie Bucher","datePublished":"2018-11-02T08:30:10.000Z","dateModified":"2024-01-12T02:37:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13844052/vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may not know the name Richie Bucher, but you’ve almost certainly seen his artwork.\u003c/p>\n\u003cp>Bucher, an East Bay \u003ca href=\"http://www.rbucherart.com/\" rel=\"noopener\" target=\"_blank\">artist\u003c/a> and \u003ca href=\"https://www.discogs.com/artist/1377685-Richie-Bucher\" rel=\"noopener\" target=\"_blank\">musician\u003c/a>, drew the cover art for Green Day’s \u003cem>Dookie\u003c/em>, an album that’s sold 20 million copies. The record cover is now as iconic as it is detailed—one that teenagers around the world have stared into for hours on end, getting lost in its Berkeley in-jokes, characters, and pop-culture references. \u003c/p>\n\u003cp>Today, rapper Vince Staples released his new album, \u003ca href=\"https://vincestaples.lnk.to/FM\" rel=\"noopener\" target=\"_blank\">\u003cem>FM!\u003c/em>\u003c/a>, and the cover is a clear tribute to Green Day’s \u003cem>Dookie\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/CoversSidebySide-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" class=\"aligncenter size-medium wp-image-13844063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-1020x467.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CoversSidebySide.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Instead of Telegraph Avenue in Berkeley, the scene is Long Beach, Staples’ hometown. But the style is the same, and the details are familiar—including the arced 3D lettering, the flying aircraft, the police, and the “Cool God” in the upper right-hand corner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I called up Bucher the day of \u003cem>FM!\u003c/em>‘s release to see what he thinks of Vince Staples’ homage.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>So, did you know who Vince Staples was before tonight?\u003c/strong>\u003c/p>\n\u003cp>No! I don’t know Vince Staples. I just listened to it, it sounds pretty good.\u003c/p>\n\u003cp>\u003cstrong>What do you think of his album cover?\u003c/strong>\u003c/p>\n\u003cp>I think it’s really cool! I just looked at it a little more closely, and I gotta say, I love stuff like this. It seems really clever and respectful. I have absolutely nothing bad to say about it—I think it’s really cool.\u003c/p>\n\u003cfigure id=\"attachment_13844067\" class=\"wp-caption aligncenter\" style=\"max-width: 453px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Richie.Artshow.jpg\" alt=\"Richie Bucher.\" width=\"453\" height=\"453\" class=\"size-full wp-image-13844067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow.jpg 453w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Richie.Artshow-150x150.jpg 150w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003cfigcaption class=\"wp-caption-text\">Richie Bucher.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’ve been \u003ca href=\"https://www.picclickimg.com/d/l400/pict/323501516742_/GREEN-DAY-GUM-DAY-Dookie-Stickie-spoof.jpg\" rel=\"noopener\" target=\"_blank\">plenty\u003c/a> \u003ca href=\"https://derpicdn.net/img/2012/8/1/63828/large.png\" rel=\"noopener\" target=\"_blank\">spoofs\u003c/a> or \u003ca href=\"https://i.redd.it/ca15p4kyrgoy.jpg\" rel=\"noopener\" target=\"_blank\">tributes\u003c/a> over the years of the \u003cem>Dookie\u003c/em> cover. Do you see them all?\u003c/strong>\u003c/p>\n\u003cp>I don’t have any way of seeing all the stuff, unless someone sends it to me. But I don’t think I’ve ever seen anything that I didn’t get a kick out of. I’m always really flattered by it. Why would they bother doing it if they didn’t enjoy what I did?\u003c/p>\n\u003cp>Growing up, drawing, I had my influences. The \u003cem>Dookie\u003c/em> cover that I did was an homage to other artists as well. So if somebody younger is doing something that’s a takeoff of what I did, it’s just part of a long line of art tradition. It’s a lucky crowd to be part of.\u003c/p>\n\u003cp>\u003cstrong>What sort of artists were you paying homage to with \u003cem>Dookie\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Specifically, Gilbert Shelton—he did \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Fabulous_Furry_Freak_Brothers\" rel=\"noopener\" target=\"_blank\">The Fabulous Furry Freak Brothers\u003c/a>\u003c/em>, and I grew up loving that stuff—but he did a cover for the Grateful Dead album \u003cem>\u003ca href=\"https://images-na.ssl-images-amazon.com/images/I/91oM2vyXD7L._SL1500_.jpg\" rel=\"noopener\" target=\"_blank\">Shakedown Street\u003c/a>\u003c/em>. Another big one was John Holmstrom, who did \u003ca href=\"https://greenandblackmusic.com/home/2016/05/01/rocket-to-russia-the-punk-rock-art-of-the-ramones/\" rel=\"noopener\" target=\"_blank\">the Ramones’ \u003cem>Rocket to Russia\u003c/em>\u003c/a>. That’s where “Eat at Chef Wong’s” comes from, it’s on someone’s T-shirt on the lyric sheet. And the other pretty direct influence was the band War, and \u003cem>\u003ca href=\"https://images.genius.com/03254402acffbc8defb4f05f05474548.1000x1000x1.jpg\" rel=\"noopener\" target=\"_blank\">The World Is a Ghetto\u003c/a>\u003c/em> artwork, and the artwork for \u003cem>\u003ca href=\"https://c1.staticflickr.com/8/7222/7276466912_b299d7d5ab_b.jpg\" rel=\"noopener\" target=\"_blank\">Why Can’t We Be Friends?\u003c/a>\u003c/em> All that stuff, that was the feeling around Berkeley when I was growing up. Just a whole bunch of people getting down and living together in the city. That was the feeling that I wanted to convey. \u003c/p>\n\u003cp>Listening to Vince Staples tonight, and looking at his artwork, it’s like, they have their world, they have their feeling, and that’s what \u003cem>they’re\u003c/em> trying to convey! It’s the same sentiment, but their localized version, and that’s cool. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/War.Freak_-800x281.jpg\" alt=\"\" width=\"800\" height=\"281\" class=\"aligncenter size-medium wp-image-13844065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-800x281.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-160x56.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-768x270.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-1020x359.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-960x338.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-240x84.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-375x132.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_-520x183.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/War.Freak_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Did anyone from Vince Staples’ team or label get in touch with you about it?\u003c/strong>\u003c/p>\n\u003cp>No, not at all.\u003c/p>\n\u003cp>\u003cstrong>What are you doing nowadays? I saw that \u003cem>New Noise\u003c/em> magazine with \u003ca href=\"http://www.rbucherart.com/img/ART-New-Noise-Cover.jpg\" rel=\"noopener\" target=\"_blank\">your artwork on the cover\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I’ve been doing things like that. I’ve been doing a couple of commissions. Longer term, I’ve been working on graphic stories that I want to compile into a book. And working on paintings here and there. Some stuff for my dad. Just a couple different projects that are going simultaneously. \u003c/p>\n\u003cp>\u003cstrong>How can people get in touch with you?\u003c/strong>\u003c/p>\n\u003cp>I have a \u003ca href=\"http://www.rbucherart.com/\" rel=\"noopener\" target=\"_blank\">website\u003c/a>. And of course, people can keep up with my art \u003ca href=\"https://www.instagram.com/richiebuchzart/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13844052/vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher","authors":["185"],"categories":["arts_69","arts_70"],"tags":["arts_1118","arts_1543","arts_596"],"featImg":"arts_13844060","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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