After being scared away from Portola Festival’s first year, I decided to go back year three for an epic lineup and a very redemptive experience.
In 2022, when Goldenvoice announced a brand new, dance-music-forward festival in San Francisco, everyone was excited. Sure, we have Outside Lands and a full calendar of shows, but a full-fledged festival would up the ante. I went knowing there would be some logistical issues, but I wasn’t prepared for just how bad some things got.
I stepped out of the line waiting to get into the Warehouse to see Fred again.. — minutes before everyone started bum-rushing the entrance. I emerged from this headache only to find vast, empty space inside with insufficient sound systems.
I didn’t have to venture far from the stage to not be able to hear anything. Sound bleed was so terrible from the main Pier Stage that during certain sets, you couldn’t hear much at the smaller Crane or Ship Tents. For that matter, food and art installations were limited, and the VIP sections were obtrusive.
Despite all of this, when the lineup for this year’s Portola came out, I decided to give it another try. With so many amazing artists, it was worth seeing how things improved. So with my puffer coat in tow to brace for the cold SF fall, I made the trek up to Pier 80.
Right away, the improvements were clear.
Organizers flipped the orientation of the Warehouse, with the stage facing the main festival entrance. They also relocated the actual entry point to the Warehouse, making it flow much more seamlessly.
The sound inside was no longer tinny — it was noticeably more clear. I remember thinking that those artists who got slotted in the Warehouse were given a huge disservice in year one. This year’s improved space allowed Nala, Floating Points, Four Tet, Sammy Virji, Sara Landry, and others to bring true rave vibes.
The Ship Tent also saw an upgrade with a larger footprint. The Pier Stage still suffered from sound bleed, but nearly not as much. In 2022, you literally could not hear anything over the Chemical Brothers. This year, Tinlicker was in the Ship Tent up against Justice and FISHER. Only in quieter moments could the thumping bass be heard from the other two acts. While not ideal, it was so much better.
The Crane Tent was converted to a much larger stage as well. Here, artists like Chase & Status, Gessafelstein, DJ Pee .Wee (Anderson Paak), and Soulwax could draw larger crowds without the confines of a tent. This also allowed for bigger production for each artist.
Overall and as expected, things flowed much better. Rotating stages made set changes more smooth. Ample space allowed attendees to move around the grounds without feeling cramped. There were more brand activations and art installations. Giant disco balls and raccoon motifs everywhere cemented the branding. Even food options were markedly improved, showcasing some of the Bay Area’s finest.
All of this made the experience of seeing this already amazing lineup even better.
It felt like a marathon going from stage to stage, making sure to catch all the artists I wanted to see. But that effort was worth it. To be able to enjoy Ben Böhmer, Jaime XX, RÜFÜS DU SOL, Nils Hoffman, LP Giobbi, and Disclosure all in the same place was nothing short of amazing. I was also lucky enough to get pretty close to Justice, who absolutely blew my mind. Their music — combined with the massive lighting rig and blinding production — was beyond words.
Though Portola boasts a mostly dance music lineup, the splashes of other genres was what really made it special. Pop icon Jessie Ware took us to the disco heaven Club Pearl. Rebecca Black drew a crowd waiting to hear “Friday,” but got to show off her vocal chops.
Perhaps the most unexpected highlight of the weekend was seeing Natasha Bedingfield. During her 15-minute set, she gave us what we wanted with hit after hit. Every single person was singing along at the top of their lungs. It was an incredibly joyful and nostalgic moment.
With all of that said, I’m really glad I gave Portola another chance.
Getting in and out was so easy, I consumed a massive amount of music as well as some pretty damn good food, and I made some new core festival memories. A lot of things happened serendipitously that I couldn’t have planned if I tried. Was this the spirit of Portola trying to right its wrongs from year one? Maybe. Did it work, and will I be returning? Definitely.
