Dominic Marziali

“We’re really drawn to everything that’s very sexy, but also a little bit disgusting or a little bit off, and very clean at the same time. When we did the ‘SUCK’ visuals — when I’m laying on a table with lots of aliens — we wanted it to be that way because it’s such a graphic song lyrically,” COBRAH said.

At Portola’s Pier stage, Sawayama embraced the most extravagant of her discography: “Comme Des Garçons (Like The Boys),” “STFU!” and “Dynasty” were key tracks on her rotation.

Chris Lake and Armand Van Helden stuck to their guns. The duo, Portola’s special guests, spent an hour and a half trading tracks on the Warehouse stage without giving up on the hallmarks of their music. 

Portola, which ran Sept. 30 and Oct. 1 at San Francisco’s Pier 80, gives special attention to acts that can’t be enjoyed at home.

Located in the historic Golden Gate Park, the San Francisco-based sonic celebration brought a lush lineup to celebrate its 15th anniversary, with artists ranging from prophetic rappers to Americana alt-pop stars to renowned rock bands.

Openers Janelle Monáe, Willow, Alex G and Ethel Cain filled Golden Gate Park with splendent soul before headliners Kendrick Lamar and Zedd took their stages on the exhilarating first night of the music festival.

Before Lana Del Rey blessed Twin Peaks and the Foo Fighters battled Lands End, openers Father John Misty, Conan Gray, L’Impératrice, NIKI, Orion Sun, Alvvays and Wednesday delivered radiant performances that cut through the Saturday gloom.

On the final day of the festival, openers Megan Thee Stallion, Noah Kahan, beabadoobee, Grace Ives and Inhaler stunned with swagger and playful charm as headliners The 1975 and Odesza conjured a breathtaking finale to Outside Lands 2023.

Queer art has never been more visible or powerful. As the Frameline47 tagline appropriately reminds us, “see and be scene.”

Onstage at San Francisco Symphony’s SoundBox, Jenkins was joined by his longtime friend and collaborator Nicholas Britell who, backed by the SF Symphony, made a live case for the vitality of film scores interested in “amplifying characters’ emotions, not imposing.”