On Sunday, Day 3 of Outside Lands music festival, I was running late in the morning, but not by much. I may or may not have tripped and fallen right into the threshold of a brewpub near my house then stayed for a bit, causing me to get to sleep a little later than usual. I was right back at the scene of the crime as the previous night for Lana del Rey, and it was hard to believe that it was even the same area. The sun was joyfully shining on the Twin Peaks stage almost too brightly—It’s hard to explain, but if a stage could ever look tired, then that’s exactly the way I’d describe it: The Twin Peaks Stage looked tired that day.
Not the folks on the stage, the stage itself. The entire structure looked fatigued, and so did the crowd who had gathered around it—the last of the early-day holdouts, keeping the faith. In a failed attempt to take a shortcut, I took a longer than necessary route there and by the time I was approaching the lawn, all I could see were bright hues of blue flashing all over the giant monitors, as Oakland-based band Fake Fruit had already taken the stage.
Fake Fruit – Twin Peaks Stage
Dressed in a head-to-toe outfit of throwback high waisted wide legged pants, a matching monochromatic blue one-shouldered tube top, boots, and a white cowboy hat, singer Hannah D’Amato was looking equal parts Selena and Dolly Parton, and the festival-sized monitors suited her very well. For fans of Le Tigre, The Talking Heads, Bodega, The Epoxies, X-Ray Spex, Omni, Venus and the Flytraps, No Vacation, and other post-punky-psych garages-riot grrrly queer core bands, Fake Fruit really packs a (fruit?) punch onstage with D’Amato’s sassy stage presence, penetrating lyrics, and the bands’ nonchalant yet ultra spunky approach to making new wave art punk.
A good amount of fans showed up early and stood out in the sun for a very enjoyable set that kept us all entertained by switching instruments more than once. A saxophone player appeared at one point for a couple of songs, giving an overall quirky new-tone ska effect, and I was pretty impressed by this band, one whom local platform KQED Arts dubbed the “Biggest Breakout Band to Come Out of the Bay Area” earlier this year. I wasn’t able to chase them down for an interview as scheduled, but I was super happy to catch this set as a consolation.
The day before when I was grabbing my Dungeness crab lumpia from a booth near the Panhandle Stage, I noticed another booth serving up pizza slices nearby along with one of my favorite things to ever see on a menu: burrata. After 2 whole days of very up-and-down, cold weather, Sunday was finally a nice and hot day, and I was ready to tackle the burrata salad I had seen on the menu of the Pink Onion Pizza booth the day before. The Mission district restaurant was serving up glistening portions of the ricotta-stuffed balls of mozzarella cheese alongside prosciutto, melon, fruits, and grilled pieces of bread. As I waited, I could hear the cheers from the crowd at the Panhandle stage growing more and more enthusiastic, and decided to see what all the fuss was about after I got my food.
Food that was possibly hands down the best thing I ate all weekend. And it was… healthy? For $19, I got a full restaurant-sized portion of burrata salad, neatly plated inside of a compostable bowl, all drizzled with a perfectly sticky, sweet, and figgy balsamic reduction. I had a perfect amount of cheese, meats, fruits, and arugula to architect several different “perfect bite” combinations atop of crispy oiled and grilled bread. I looked around as the sun beat down on me and was so glad I didn’t have the oily pizza slices and richly fried food that those around me had—yet that is.
Fake FruitVenus and the Flytraps – Panhandle Stage
Plopped down on the grass, I was enjoying the catchy melodies of Venus and the Flytraps, who were overflowing with gritty effervescence directly in front of me on the Panhandle Stage, where Nashville-based Ceci Tomé and Brenna Kassis took me straight back to Hole’s Live Through This era. The dynamic duo who are equal parts early Seattle Riot Grrrl, 90’s-00’s pop princess, and grungy alternative rockers made their Bonnaroo debut in June, showcasing already-released singles “Worse Together,” “Red Hot” and “Scaredy Pants” off their recently released new Venus in Love EP.
With a wardrobe straight out of an original Delia’s catalog, this angsty femme-pop band with grungy alternative roots has a sense of humor to their lyrics that reminds me of previously mentioned band Fake Fruit and are perfect for fans of not just Hole, but also familiar names like Belly, Veruca Salt, Luscious Jackson, Michelle Branch, Aimee Mann, Babes in Toyland, Taylor Swift, and Oakland emo rockers Little Low.
It was a good thing I loaded up on “breakfast salad” because I left the Panhandle Stage for an in-futile trek back to the media tent just to end up right back where I started—Fake Fruit had to push their interview to later. Getting my steps in, I walked back to the Panhandle stage for my heartfelt interview with two thirds of The Sour Widows, then back over to the Twin Peaks stage where I hung out backstage waiting for them to be shuttled back (they got golf carts, media definitely did not) as long as I could before it was time to hi-tail it all the way back to the main stage, as Poolside was just starting up.
Venus and the FlytrapsPoolside – Lands’ End Stage
From Los Angeles, California by way of San Francisco, chillwave and “Daytime Disco” band Poolside originally formed in 2011 after frontman Jeffrey Paradise pivoted from a successful run in the underground nightclub scene both producing and DJing infamous events around town all throughout the early 2000s. Flash forward to 2023 and Poolside’s touring roster is a full circle lineup of sorts, featuring Brijean Murphy (Toro y Moi), Casey Butler (Pharaohs), and several members of electroclash kings The Rapture, whom Paradise was in a band with all the way back when they were called The Calculators.
It was indeed surreal to see my friend Jeff fourth-to-last on the main, headlining stage that final day of Outside Lands Festival, and before I crossed the long end of the polo fields to get up close to the stage I stopped to photograph the shocking amount of folks who had also turned up for their set. It was hardly 4 p.m., and the crowd had already stretched back to the infamous windmill that landmarks the midpoint of the oval-shaped grounds. Poolside, however, is no stranger to major festival stages. Primavera Sound, Coachella, Outside Lands (2018), Life Is Beautiful, and many others dot their extensive resume, with their third and most recent record Low Season released in 2020, followed soon after by its companion record High Season in May 2021.
I had managed to locate my friend Sabrina in the crowd very close to the front for the first time that day, just in time to take in both the music and the momentous occasion. Standing on my tiptoes, I stretched my arms as far and tall as I could to get a full, pan shot of the sea of folks from the stage’s point of view. They stretched back so far, I was unable to capture them all as the heads faded into the distance. Sabrina and I needed a tropical drink in our hands as we boogied in place to the relaxed beats and smooth, beachy, mellowed-out EDM of Poolside. For once that day, the music of the main stage artist was laid back, exotic, vibey, and flowing—exactly the signature neo-lounge party sound that this band has done such an excellent job of defining over the past decade-plus years.
“This is what you’d call pancake music,” I told Sabrina with a wink. “Because imagine it playing at, like, 5 or 6 in the morning. It’s not too intense or too loud but still has rhythm, beat, and vibe. Perfect if you’ve been up a while, you know what I mean?” She knew what I meant. Whether it’s music meant to be listened to by the pool, or music meant to be listened to over mimosas, Poolside cruised through a set of a dozen or so songs hallmarked by new material, such as brand new single “Float Away,” a collaboration with Vansire.
Speaking of new releases, Poolside’s newest album and their first collaboration with an actual record label will be out on October 20th. Dubbed “Blame it All on Love,” the track listing, album art, and a merch pre-order are already available on the band’s website.
Paradise had taken to his Instagram page over Outside Lands weekend to tell the story of how he used to work security at Bimbo’s 365 Club in San Francisco when he was 21 years old and playing in punk bands. The Thursday night before his Sunday main stage set, he had returned to that same venue to play a gig and tease out his brand new record, now over 20 years later. “Thank you SF for being such an integral part of my journey.” he wrote in the post. “You always bring the hometown energy.”
The hour-long set left me slightly buzzed, also hungry. I was back in the media tent by then which happened to face the back end of a strip of food vendors, causing the entire interview area to be BBQ-scented for most of the weekend. Sensing my final opportunity to grab something, I dashed down the hill and around the corner to the very short line at the Son’s Addiction booth for a carnitas bahn mi, then stealthily placed an order for some carrioca rice donuts next door at the Abaca booth while my sandwich was prepped. Arriving back to the media tent with a veritable implied trumpet fanfare with my sandwich, fries, and donuts, a lot of my colleagues were a little turned up at that point, leaning into the “TGIF” mentality of the final stretch of the music festival.
A sponsored media wine-tasting event earlier, (I missed it) plus everyone taking advantage of what was left of our keg had suddenly created a happy hour-like environment, and I sat down with some of the crew from local radio station Live 105 to eat and chat about the weekend. I went googly-eyed for a moment when all three members of Gabriels walked in for some scheduled interviews. Looking sharp in their custom-tailored suiting, each in a different color scheme like Alvin and the Chipmunks (sorry for the archaic example) I tried not to stare as I shoveled french fries into my face and marveled at the intense “star” energy emanating from them all. Theirs was one of the sets I had to forego due to my interview schedule, so I was glad I got to witness their vibes up close and personal– the real deal, personified.
Speaking of the real deal, let’s talk about my sandwich order. Looking more like a NOLA-style debris or Italian hot beef at first glance, the clever mash-up of warm, unctuous pulled pork and sharp crunchy vegetables more than hit the spot that chilly night. Not usually a fan of “wet” bread, the hoagie roll was half soaked in whatever flavorful juices the pork had been stewing in and I enjoyed dipping the dry bits back into the natural juices that had collected on the bottom of the container. I had no problem sharing my fries and donuts with my various colleagues who informed me that I was apparently the last person on the planet Earth to try them, which explained why half the order quickly vaporized into thin air as I made my way from the entrance to the table.
Rustic-looking bits of fried dough with a slightly chewy, mochi-like texture were drizzled with condensed milk and topped with finely topped bits of strawberries and mangoes served warm. A treasure. If I hadn’t eaten literally every single bite of my sandwich (all that bread, yes) plus at least half my fries, I would have worried more about giving half my dessert away but my last carb-a-thon of the festival was successful. I still had three performers and a good distance to walk before I was home for the evening, so for once my dinner strategy finally played out the way it should have.
By the time I was halfway through my sandwich, Lil Yachty’s set had begun on the main stage.
Poolside
Lil’ Yachty – Lands’ End Stage
Despite the “Hora Loca” going on in the media area, I charged my device and ate as quickly as I could so I could sprint back down the hill to see what he had in store for his main stage Outside Lands performance. 26-year-old Miles Parks McCollum, aka the multi-Grammy Award nominated artist better known as Lil’ Yachty has had a full and boisterous career in the music industry ever since he burst onto the scene back in 2016.
Onstage with a full band composed of all Black female musicians, I was immediately taken aback at how they resembled Law and Order: SVU actor Ice T’s 90’s punk band Body Count in appearance: all black Carhart pants, hoodies, and wrap-around sunglasses, with bandanas neatly tied and folded around their foreheads. The resulting visual effect was polarizing, yet effective, because they looked tough. “I love it when rappers have live bands!” I thought to myself, totally forgetting in that moment that his fifth studio album Let’s Start Here, was inspired by psychedelic rock.
I had a good spot, but the crowd was a surly one. A lot of the spaces towards the front had filled in for Meg Thee Stallion’s set which was coming up next, and many of the crowd who had come early for Poolside were clearly intending on sticking it all the way out through Odesza, the final act of the festival. The connoisseur of “Bubblegum Trap” sailed through a set of 21 different, unique songs that honestly went by all too quickly. Opening with viral interlude “Coffin,” the half rap show, half rock show was broken up by crowd bounders “Broccoli” and Kyle cover “I Spy,” but he spent the majority of his set showcasing his new material which was received with mixed results by the audience, a lot of whom seemed to not know how to process what they were watching.
Despite not foreseeing the rock show premise, the mixed presentation was no surprise to me. Lil’ Yachty has never cared much for, nor has he ever had much of a complex about leaving behind some sort of long-lasting name or legendary bestowal upon his fans. Instead, “Lil’ Boat” has quietly and steadily churned out a number of albums, EPs, and several mixtapes over the past 8 years, tantamount to at least 1 per year. Much like his live band’s aesthetic, I slowly began to understand that both the performance and presentation of his new album that night was just as much of a concept as the album itself, as Let’s Start Here is a classic concept album, with an intentionally directed, themed premise from beginning to end.
MF Doom, Jay Z, The Roots, and most recently Summer Walker are all shining examples of artists who have successfully released albums under a central concept, and Lil’ Yachty took us down a rabbit hole into part of the depths of his mind that Sunday evening, with a disposition on stage that reminded me a lot of Kanye West during his My Dark Twisted Fantasy days.
Stern, quiet, focused, with his hood up for most of the set, there was an intensity about this artist I hadn’t seen before. The relaxed, contemplative, easily engaged, and chit-chatty Yachty I’ve seen so many times in press and documentaries seemed transmuted in a way—almost as if he had embodied the protagonist of his latest album. And that aforementioned intensity grew as the set went on, churning through songs like “Yacht Club,” “Get Dripped,” “Pardon Me,” and last year’s controversial single “Poland.”
If you ask me, that song alone was way more conceptual and “out there” than anything on this new album, but I digress because there was a significant vibe change mid-set. Yachty seemed to grow angry as the performance went on, as if progressively becoming more agitated. After a while his demeanor grew surly—alternating between pacing back and forth across the stage, and holding the microphone with both hands on the stand, leaning forward with a death grip like Joey Ramone.
It was only after the set I was told by the kids standing behind me that he was being harassed by certain audience members the entire time, a group of college-aged men whom I assumed were all gay by their looks and dispositions at first glance, (ironically) but apparently they weren’t, and were yelling slurs and pointing middle fingers right at Yachty the entire time. Trouble makers, I noticed them because one had climbed on top of the barricade to sit on top of the railing and there were too many people around for me to be able to really see or hear what they were actually doing. In an age when performers have to actively caution against something hitting their heads during their live shows, it seems as if fans are doing everything they can to gain attention from touring musical artists in negative ways nowadays, with this concert being no exception.
I thought the set was fantastic, albeit possessing a choppy energy and no real momentum to speak of. Yachty seems more than happy to be putting on a show for his audience as well as grateful to be there as a live performer, but beyond that, he’s there to please himself. He really doesn’t seem to care how many folks actually liked his set, knowing that those in the know who “got it,” would get it. And I certainly got it.
Before this concert, I was unsure if I’d go out of my way to see Lil’ Yachty perform solo, but now I wait with much anticipation and a somewhat bitten tongue to see what concept he comes up with next. I’d love to see an album in collaboration with him and his friend producer Rick Rubin, and it would be beyond fun to see what he could do with younger protege-type artists like Willow or Kenny Hoopla. All in all, this was one of the most immersive experiences of the entire weekend, and if Yachty teaches me anything, it’s that it’s ok to take a concept as far as you can take it until you feel like pivoting to someting else and making that great, too. There is a great sort of comfort within that notion, and one that I personally can identify with very much.
Lil YachtyMegan Thee Stallion – Lands’ End Stage
Part of my earlier strategic plan of having roughly 15,000 calories of mostly carbs and sugar had turned out to serve me well, as I had no plans on moving from my spot anytime soon. Shockingly, after Lil Yachty wrapped up much of the front row began to dissipate and I very sleekly maneuvered my way up to the front barricade railing. I assumed I’d stake out a good shooting area, but never thought I’d end up right in the front row for Megan Thee Stallion. Roughly 20 minutes later, her silhouette appeared behind a large screen onstage. Clad in a spandex, corseted hot pink bodysuit with Swarovski crystal straps and “nipples,” Tina Snow aka Megan Thee Stallion entered the stage surrounded by 15 or so of her dancers, all clad in sassy shades of baby pink.
Starting off with single “HER,” the Texas-born “Hot Girl Coach” blazed through a set of 14 songs that went by way way too fast, including “Freak Nasty,” “Captain Hook,” “THOT Shit,” “WOP,” “Body,” and “Savage.” Megan Jovan Ruth Pete loves her audiences, and the feeling was mutual as all throughout the day, as fangirls of all ages, shapes, and sizes walked around the campus with large homemade signs meant for the three-time Grammy Award-winning rapper. Others sported shirts saying “Real Hot Girl Shit,” her infamous tagline.
Speaking of shirts, at one point Thee Stallion decided that everyone deserved a shirt of their own because her dancers suddenly emerged from backstage with armloads of tour t-shirts, all thrown into the VIP section of the audience. Much like other festivals I’ve attended, there are always “special perks” for the few who opt into the top-tier packages, with Outside Lands being no exception.
The twerking and booty-shaking choreography and dancing was so intense and, well… extensive, that it’s no wonder that the Houston-born superstar paused plenty of times to rest by interacting with the tightly packed front rows. “What’s your shirt say?” She pointed to the crowd and shielded her eyes. “My dick is bigger than his.” The crowd roared with cheers and laughter. “What’s your shirt say? ‘Real Hot Girl Shit!’ I like that shirt!” She stuck her tongue out and pranced to the other end of the stage.
When the show was about two-thirds over, she became serious for a moment, thanking the crowd for standing by her during her long and traumatic court case with disgraced rapper Tory Lanez, recently convicted in court for shooting the 28-year-old while trying to leave an LA party. It was clear that she was trying hard to not let emotion overcome her as she expressed just how much she appreciated all those who supported her and believed her during the process. Other times she’d go straight into joking around, teasing her backstage crew for a broken shoulder strap on her costume. “Somebody’s gonna get it back there!” she teased, sticking her tongue out.
It’s hard to deny Meg Thee Stallion’s talent after witnessing her up close and personal. She doesn’t miss a beat as a rapper, with a flow faster and smoother than I’ve ever seen a woman perform live in concert. Tall, fit, statuesque, and ultra-glamorous, she had no problem keeping up with the complicated choreography during the 45-minute set, with moves that made even the security guards break a sweat several times. It was hilarious to watch the VIP section’s general reactions in fact, as many grandfather-aged men stood saucer-eyed, while their wives and girlfriends stood by looking annoyed. Some of them left mid-show. Other husbands returned to finish watching the set without their wives.
All in all, Megan the Stallion was one of the highlights of the entire day just as I suspected her to be. I’m as eager to see her live again as I am to hear new music, which could be at any given time based on her penchant to randomly drop completed works without much or any notice at all. My only wish was that her set could have been a little longer. Lil’ Yachty’s set was significantly longer and she certainly has enough material to fill up well over an hour-long show. Weary, I didn’t care to stand there on the metal barricade any longer as the sun was starting to go down, and the wind was picking up.
A dad and his kid who looked to be around 8 or so were standing behind me, diligently waiting for Odesza to come on, so I offered my very lucrative position to the duo who graciously accepted, and trudged my way back to the media tent for the very last time. At this point of the music festival, it’s almost like you’ve had a mini summer camp experience by the end of three days. You’ve made new friends, great memories, you’re a little beat up but left feeling very fulfilled and extremely tired.
Megan Thee StallionOdseza – Lands’ End Stage
I was excited to finally see what the fuss is all about re: EDM superstars Odesza and their infamous laser light and drone-filled live shows. The pair of DJs originally from Bellingham, WA who met while in college have been on a slow but steady streak since their 1st album was released back in 2012, and on July 21, just a few weeks before this Outside Lands set, the latest album, Flaws in Our Design (in collaboration album with Yellow House, a South-Africa-based singer/songwriter) was dropped just in time for this epic Sunday night performance.
Always loving a strategy, I gave my back and feet relief as I caught up with the rest of my colleagues in the media tent and popped on a pair of “festive” purple light-up cat ears I keep just for such occasions. (Also for if I lose my friends, and need to be found in the dark) A lot of press had already packed up and left, leaving a roomier press area that somehow sighed with relief once entered.
Odesza’s set was no joke as their captivating light show instantly took off in all directions to live music led by the dual DJs plus their backing band that included both a horn section and kettle drum players, and proceeded to illuminate the misty night sky for well over an hour that Sunday night in Golden Gate Park. Their unique blends of EDM beats with pop songs and catchier more modern melodies make their songs an evolved version of the candy rave days of the 1990s and early 2000s electronica-based live music scene. The specially curated, drone assisted light show was a feat to behold—I have absolutely never seen a visual display to that capacity that wasn’t purely pyrotechnical. Even if you didn’t care for the music, I could see why folks would be compelled to purchase a ticket to an Odesza concert just to see the epic laser light display.
I lasted somewhere in between four to five songs into the set until I hit a wall and completely tapped out. Sad? Considerably, but the media tent was just that–a tent. Sort of like the type you’d expect at a summer wedding reception, meaning it only had 3 real walls and I was starting to get cold. What a way to walk out of the park, though. I kept the light-up cat ears on, said my final goodbyes, Venmoed the bartender who had been serving us all weekend, and slithered my way past the turnstiles and out of the park for the last time that weekend.
Honorable Mentions:
There were absolutely more than a few bands I wish I could have stuck around to see more of over the weekend. Here’s a short list of bands I didn’t get to see, but wish I could have.
Lovejoy: I have such a soft spot in my heart for Brit Pop, and while this Australian band isn’t literally from the isle of the U.K., their uppity, poppy, jumpy, peppery sound reminds me of the glory days of the post-disco, 2000s-era and the works of bands like early Arctic Monkeys, The Libertines, and compatriot band Jet. Lots of fun to watch them on the main stage, and I wish I could have not just been passing by.
Alvvays: Fronted by the daughter of Celtic folk band legends, Canadian indie pop band Alvvays seems to make music under a singular running guise: making each individual song perfect. A cult favorite on college radio stations, it’s hard to believe that this band dropped their first album nearly 10 years ago already, and is currently on a tremendously successful run supporting Alex G.
Iso XO: Speaking of being more successful than originally planned, I don’t really know anything about the Dubstep genre, so I hesitated to interview ISOxo, but am now regretting my decision. The San Diego native’s star in the bass music scene has been both quickly and steadily rising, and it’s no wonder with his Anime character-style wardrobe and infectious onstage energy. Intrigued by the notion of a DJ having a midday set on the main stage, ISOxo’s set did not disappoint, and neither did his rambunctious spirit and electrifying energy which was obvious, even from the viewing platforms and balconies.
Inhaler: A beyond solid Dublin rock band whom I was shocked I hadn’t really seen or heard of before this festival. Lush guitars mix with smoldering, smoky vocal melodies, and an edgy twist that pairs just right with a sound that’s early U2 mixed with more richly orchestrated modern bands like The Airborne Toxic Event. They’d be great supporting a band like The Struts, and I’m enthusiastic to see a full set from them.
Gabriels: As I briefly mentioned above in this article, this soulful trio are destined to be the next Gnarls Barkley with their soulful catalog of modern, gospel-inspired, rootsy neo-soul. The outfits and stage costumes they pull off are so fabulously elaborate that I’m taken back to the 1970’s and all the matching, bedazzled suits the early pop, funk, and disco pioneers would wear. A group like this can only get better, and even if I didn’t get a glimpse of them onstage this go around, at least I got a taste of their energy in the media area for a few impressive and impactful minutes.
Am I spoiled to be able to attend a music festival 16 city blocks from my apartment and get to cover it for a magazine too? Yes. But it’s because of that I don’t take the assignment lightly. Out of anyone, I should be able to provide a fair, honest, and realistic POV into one of the most sought-after music festival tickets in the entire nation year after year: Outside Lands in Golden Gate Park.
Overall: 7.5 out of 10. The food? Almost exceptional. Outrageously good. The bands? Chef’s kiss.
The schedule and staging of the bands? Thumbs down. That Lana del Rey Foo Fighters fiasco was… not cute. They should know better after 15 years about that sort of stage conflict; it seemed overbooked. The amenities? Needs improvement. Three times the number of restroom opportunities should have been provided for that number of individuals. Public transportation options? Excellent. Dare I say New York City-style excellent? However, a lot of people never hear about the smaller bus lines and struggle to cram onto the major ones and/or order a $90 Uber back downtown.
Weather? Sigh. It’s just so inconsistent, and I saw teenage girls wearing garbage bags they were so cold. You very well can experience all four seasons in one day, which is very difficult to plan around, even as a local.
Despite a few hiccups and a ton of guest appearances by Karl the Fog, Outside Lands 2023 delivered an incredible weekend full of gourmet food, superstar performers, and an unforgettable experience in the middle of San Francisco’s magical Golden Gate Park.
