PORTOLA 2026: ARTIST SPOTLIGHTS AND INSIGHT

September 20, 2026

by evan twiford

The classic dance festival on San Francisco’s Pier 80 returns for its 5th year on September 26th and 27th, 2026. This year’s Portola weekend is packed once again with a multitude of activities, local food and drink, with music that spans anywhere from house, to hyperpop, to nu disco. With that being said, this year’s lineup is guaranteed to grab your attention. Here’s a few artists we’d like to spotlight for the upcoming festival weekend:

DAY ONE:

Day 1 is a good day for duos — and to kick it off, San Francisco locals Erika and SFCowboy are set to play a back-to-back set at the Crane Stage. As the two co-founders of up-and-coming electronic SF label and independent radio station Program Audio, the duo has been receiving their earned accolades, and are a pair to keep an eye on in the way of Bay Area sonic community.

Fcukers, an NYC electronic/house duo consisting of Shanny Wise and Jackson Walker, first rose to virality in 2024. The two are riding the high of their recently released full-length album Ö, and with high-energy OG hits like “Bon Bon” and “L.U.C.K.Y.” off of the new album, their upcoming set is absolutely not one to miss.

If you care to start the party off at sunset, Bassvictim intends to hold your body captive in their electric spell at the Shiptent Stage. Bassvictim’s Maria Manow and Ike Clateman best known for songs like “Forever Salty” and “27a Pitfield St,” precede their chaotic reputation on and off the stage, which contributes to their palpably addictive music.

One of the most anticipated sets of the festival is Dog Blood, the dynamic DJ duo of Skrillex and Boys Noize. This will be the electro house duo’s first ever set in the Bay Area, and also their first major performance since 2019. The duo project formed in 2012 will likely feature hit songs like “BREAK LAW,” “Next Order,” and “TURN OFF THE LIGHTS.” The scarcity of their sets is likely bringing many to the Bay Area to capitalize the first night of the festival.

DAY TWO:

One of the best ways to start off your Sunday afternoon is with a Channel Tres set. The hip house singer and producer from Compton, CA is not unfamiliar with being a sparkplug during his sets — opening up for Kaytranada in 2024 and on an upcoming tour with Thundercat. He’s likely to perform some of his best-known singles, such as “Controller” and “Topdown.”

A big highlight after Channel Tres to see would be the rapidly growing hyperpop sensation underscores. San Francisco born, the singer-songwriter and producer will be making a stop at Portola amidst tour, opening for the iconic Charli xcx. Her sets are known to be electrifying and cinematic while she transitions between digital playback and live instrumentation. If you aren’t familiar, check out the heavily popular and catchy song “The Peace” off here recent album U.

In the latter half of the evening, internet sensation Zara Larsson is an obvious must-go. Besides the singer’s gorgeous raw-talent vocals, she’s known on-stage for bringing smooth choreography, engaging moments with fans, and a playful, infectious energy backed by a live band. A recent notable song to many would be her instant classic collaboration with PinkPantheress on the remix of “Stateside,” even winning Collaboration of the Year at the American Music Awards 2026; as well as her hit single “Midnight Sun” — an earworm.

Swedish House Mafia brings a grand spectacle to one of the final sets of their night, with their typical euphoric production, lights, and sing-along anthems. House supergroup since 2008, Axwell, Steve Angello, and Sebastian Ingrosso are coming back to Pier 80 after nearly a year from their raw and striking New Years Eve 2025 performance. Expect to hear their classics like “Redlight,” “Greyhound,” “Miami 2 Ibiza,” and “Don’t You Worry Child.”

Despite these picks, there will be many more talents and pockets to have fun during the festivities at Pier 80. The whole weekend will also have Despacio, a custom powerful analog sound system created by James Murphy of LCD Soundsystem and brothers David and Stephen Dewaele where there will be an uninterrupted 7-hour vinyl-only set each day. If you don’t want to stop the fun or want to get the party started early, don't forget to catch some exclusive shows of the festival’s many talents at one of the Portola Week’s shows in the evenings leading up to and during the weekend. It seems Portola is shaping up for another star-studded lineup full of nonstop energy and movement for attendees.

THE BEACHES: INTERVIEW

September 18, 2026

by madden levin

The Beaches has had quite the year as they are seeing even more traction and individuals celebrating their talent than ever before, which is hard to believe as they have had fans swooning over their tunes and stage presence for years. The four members have always ensured that their music represents authentic and powerful themes, allowing them to become insanely relatable whilst showing off their untouchable talent. We took some time to chat with the incredible individuals who make up The Beaches, hot off of some unfathomable and irreplaceable opportunities. We hope you enjoy their genuine nature as you continue to discover your new favorite songs by The Beaches!

You’ve had such a huge year, from the Billboard Women in Music Global Force Award to Tiny Desk, Kimmel, and now “Edge of the Earth” taking off again. What moment has felt the most surreal?

The Beaches: “It's wild because you just listed a bunch of things that I had forgotten happened within the year. It's all been really surreal. Tiny Desk has been a dream forever. Honestly, we got to perform for Elton John a couple months ago. He was honored with the Glenn Gould Award, and we got to play ‘The Bitch is Back’ for him, and it was such a pinch me, out-of-body moment. There have been so many bucket lists moments happening over the last three years, but even the last year has been pretty crazy. And with all the Off Campus stuff, it's been so cool. You know, those kind of things, they come in all the time, and you say yes, but you don't really expect what happened with Off Campus to happen. And so that was definitely super wild. The Elton John performance, though, was super awesome, and it was an extra honor, because he picked everyone that he wanted to perform. So, to know that he wanted us there is the biggest honor you could have as a band. It has been such a wild, fun year.”

“Edge of the Earth” is a few years old, but its Off Campus placement has given it a whole new life. What has it been like watching a song you’ve lived with for years suddenly reach so many new people?

The Beaches: “It was kind of our first song we put out that was about a queer story and my story with my girlfriend at the time. I came out during COVID and we wrote that song; so, it has definitely lived in the queer world for a long time, which has just been so beautiful and meaningful to us. And now, it has become this hockey, yearning story, and I love that it can just be a love story for anybody. And that's what any queer song should be anyway.”

You’ve said the new “Edge of the Earth” video was a chance to return to the queer love story at the heart of the song. What did you most want to capture with the video?

The Beaches: “Every video is different. It really, honestly, depends on the song and the moment. And so, we've obviously been living with ‘Edge of the Earth’ for a while; it was out before that video was out, but I think we all kind of wanted to get the same feeling that you get from listening to the song. We wanted to portray that in the video — so very dreamlike with all the haze on the stage, the way the lights are, and that the fog moment that’s meant to be like the edge of the earth. That was a good effort with our managers, our management team, the production team, and the director. Everyone just did a really incredible job. It's such a beautiful video. I'm really proud of it.

It was pitched to us because the song is three years old and we never made a video, and we're like, ‘Okay, well, lots of people are finding out about it and listening to it. We should definitely make more content for it.’ The director and the production team pitched the idea and we're like, ‘If we can combine the two worlds of dreamy, queer love song and this hockey world that it’s now living in,’ I think we were all so happy with how it turned out.”

With No Hard Feelings, you leaned heavily into messy emotions, queer love, and personal growth. How do you think you’ve changed since writing the album?

The Beaches: “Since we put that album out, a couple of us turned 30, so I think we have matured a little bit since that album was written. It hasn't even been that long, but at the age that we're at, you do mature so exponentially fast. I think we're making a lot less toxic choices these days where we're hanging out with healthier people; we're just healthier in the emotional sense. And I think we have more boundaries now. I mean, the next record… listen, it's still going to be messy. It's still going to be raw and honest. But we're growing up a little bit.

A lot of the songs on that album were about a relationship I was in two years ago that I very much loved and it kind of didn't end the way I wanted to. I wasn't treated the way I should have been treated, and now, two years past that, having been through a couple of those relationships and written about them, I have a stronger sense of love for myself, and boundaries that I can put up for myself. That has been through getting to write these songs with my best friends in this band, who also uplift me, and let me know my worth. So it has been a lot of growing together. That being said, the next album, I know I've got to do a couple things to have fun things to write about. So… maybe I'm going on a little getaway with an ex of mine. It’s all for the art, you know? It's for the plot, but this time I feel good about it. I feel these boundaries. We're feeling good.”

Why is it important for you all to have your music reflect your growth and where you are at in life?

The Beaches: “We are always writing from a very honest point in our lives. We will go into sessions and just kind of debrief about what's going on in all of our lives and choose what to write on based on what the strongest idea is. So if it's like, you know, I'll be coming into a session being like, ‘Well, I just went on a three day vacation with an ex I haven’t talked to in two years.” And someone will say. ‘Let's write about that, because that's kind of crazy.’

We’re always very honest in our writing, and I think that's why so many people can relate to our songs. We are never gonna lie in our songs. That's what we're going through. The listeners are always so intelligent within their ability to make sense of the music that they are listening to. I think some artists these days definitely dumb down their lyrics and don't give the fans enough credit; like… they can read between the lines: they’re smart and they're emotionally intelligent. We're all growing together.”

The deluxe adds four new tracks, including “Should’ve Known Better” and “Perfect 10.” What made these songs feel like they belonged in the No Hard Feelings era?

The Beaches: “We had songs that we had written that we knew we wanted on the deluxe. It was just about like, ‘Okay, well, let's take some other songs that we've written, let’s book some more sessions, and try to put together a couple other ones to loop in to give the fans something new.’ It’s like a little snack to tie them over until the next project came out.

We’re super happy with those songs. I personally think ‘Should’ve Known Better’ is my favorite. It's nice to have an earnest song that's not so tongue-in-cheek. I think it's a breath of fresh air in our catalog.

We have had ‘Hypothetical’ for probably like two years and it felt really special to us — we wanted to release it. I think we've been trying to figure out the theme for the next album and these breakup songs kind of still live in the No Hard Feelings realm. It was kind of like closure on that part of our lives.”

Has performing on these different stages changed how you approach being a live band? What do you hope fans take away from your shows?

The Beaches: “I think the thing that we've always had as a live band — and just as a band in general — is authenticity. And that's because we genuinely are a family, where we've been doing this together for nearly 20 years, and at that point, you just become sisters and we genuinely are having the most fun on stage. Even if we've had a really terrible travel day, you get up on stage and it's just the four of you again just having fun. When people see that, it's refreshing because a lot of these days you get overnight TikTok artists that have never played a show before and the concerts are very… there's no authenticity. We want people to take that away and there's a lot of girlhood energy in our crowds too, which I love. And the men get in on it too! It’s awesome. The sense of community is just really beautiful in our band and fans. Yes, we are a band of four girls, but we don't want to feel like a clique. We’re all there together; we're all the last girls at the party, enjoying the night together. Concerts are fun, and it really brings people together.”

Have you all had a general outline or timeline of goals within The Beaches? How do you see the development over time?

The Beaches: “I think the goal for this band has always been to do this for as long as possible, and this has been our lives for so long. Most of the memories I have are doing music, and I think we've just always wanted to be a band that stands the test of time. We hope people are still coming to shows 20 years from now. And whatever we need to do to make that happen, we will.

Getting older, I'm noticing I need to start just taking care of myself better to make sure I can support my body through these things, because it's hard on your body and on your mental health. Doing whatever we can to keep ourselves as healthy as possible for as long as possible [is necessary]. That is the toughest part about this and growing older is I never thought I'd be on the stage twirling about and have a wrist injury from never-ending touring. I've been touring for 13 years in this formation and it never gets boring. I'm excited for every trip, and asking, ‘What are we gonna do? What restaurant we're gonna go to?’ It’s always just an adventure and I want to keep that childlike innocence of touring and working with my best friends. I just want to keep that going forever. And I think it's easy with this bunch of girls and our crew. It’s honestly so much fun.”

Which one (or two) songs of The Beaches would you recommend for someone’s introduction to the band?

The Beaches: “Ooh, that's tough. I would say one would have to be ‘Should’ve Known Better’ because I want to show that side of us. The second one would be either ‘Edge of the Earth’ or ‘Last Girls At The Party.’ And maybe ‘Blame Brett’ because it's the one that helped us gain an audience all around the world. I don't know what it was about that song, but it’s infectious and relatable.”

And with that, we thank The Beaches for taking the time to chat with us. It’s clear why they have had fans obsessed for the entirety of their career as their down-to-earth, very humanlike demeanor is truly hard to find in the present. Don’t forget to visit The Beaches on social media to ensure you know when their next releases and shows are!

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DAYOUNG: INTERVIEW

September 15, 2026

There aren’t many soloists in the K-pop realm that have had the type of immediate career acceleration that DAYOUNG has. From her debut as a member of WJSN (Cosmic Girls) in 2016 to her re-debut as a soloist just last September, DAYOUNG has undergone what at first looks and feels like a complete 180 from the stage persona she started out with. A deeper look suggests that she might just be one of K-pop’s greatest talents with her ability to thrive on stage in any visual or sonic concept. Her latest single, “FLIRTY,” is an addictive track that also serves as her first collaborative solo release alongside Jay Park. Unclear spoke to DAYOUNG about this buzzy single, her meteoric rise as a soloist, and what it means to be as creatively involved as she is now in her own music.

Congratulations on the release of “FLIRTY!” Do you typically feel more nervous or excited in the build-up to releasing new music? How are you feeling now that this single is out?

DAYOUNG: “Thank you. I think I always feel a mix of excitement and nervousness whenever I release new music. Since I put so much time and care into each project, I’m always curious to see how people will react to it, which makes me even more excited. ‘FLIRTY’ is especially meaningful to me because it’s my first collaborative single. I put a lot of thought and love into the whole process, so more than anything, I’m just really grateful that the song is finally out in the world. Most of all, I hope people enjoy the exciting and carefree energy of the song, as well as the new chemistry between Jay Park and me.”

Can you share a bit about how this collaboration with Jay Park came about?

DAYOUNG: “After the MMA (Melon Music Awards) performance, I heard a lot of people around me say, ‘You and Jay Park would be a great match if you made music together.’ I found myself agreeing, and not long after that, I went to LA, where we started working together and listening to different songs and beats. In fact, I had been working on ‘FLIRTY’ with Jay Park in mind from the very beginning. So when I first heard his vocals on the song in the studio, I immediately thought, ‘This is it!’ It was amazing to hear the sound I had imagined actually come to life. I think our different musical styles came together really naturally, and that’s what gave ‘FLIRTY’ its unique charm.”

With “FLIRTY” being your first collaborative single, did you find the creative process to be different in any specific ways compared to your previous releases?

DAYOUNG: “The biggest difference was the joy of creating something together. When I work on solo music, I usually build the story around my own emotions and thoughts. This time, I spent a lot of time thinking about how our two musical styles could come together naturally in one story. Rather than trying to make our styles match perfectly, I felt it was more important to let each of our personalities shine. Through the process, I was also able to gain new perspectives and come up with ideas that I might not have thought of on my own. This project reminded me how fun and exciting collaboration can be, and it made me want to keep working with different artists in the future.”

Yours and Jay Park’s musical styles differ, but come together exceptionally well to compliment each other in the vocals as well as physically within the music video. What do you feel are the key steps when creating such a palpable chemistry between two artists in a track like this?

DAYOUNG: “I think the most important thing is understanding and respecting each other. While working on ‘FLIRTY,’ Jay Park and I didn’t just think of ourselves as two artists singing a song together. We saw ourselves as the male and female leads in the same story. I wanted people to naturally picture a scene from a movie when they listened to the song. We wanted to capture that subtle moment when two people start to feel drawn to each other and bring that feeling to life through both the music and the performance. So we paid attention not only to the choreography, but also to small details like our facial expressions, eye contact, and the distance between us. We respected each other while still letting our own personalities show, and I think all those little details helped create the natural chemistry you see in the final result.”

What’s your favorite aspect of creating music as a soloist? What made you want to get more involved creatively in the first place, starting with “marry me” on your debut EP?

DAYOUNG: “One of my favorite things about being a solo artist is being able to express my own thoughts and feelings through music. When I worked on ‘marry me,’ I realized for the first time how rewarding it was to tell my own stories through music. After that, I naturally started sharing more of my ideas — not just about the music, but also about the concept, performance, and visuals. I really started to enjoy the whole process of bringing one project to life. Seeing something I imagined turn into a real song, performance, or visual is still one of the most exciting parts of what I do. Moving forward, I want to be even more involved creatively and continue making music that shows my own unique color.”

This year marks a decade since your initial idol debut as a member of WJSN (Cosmic Girls), and your career looks a lot different today. If you could give your 2016 self any advice or reassurance, what would you say to her?

DAYOUNG: “I think the first thing I would tell her is, ‘You don’t have to worry so much.’ When I first debuted, everything was new, and I felt a lot of pressure to always do well. I was probably harder on myself than I needed to be because I was so afraid of making mistakes. But looking back after ten years, I’ve realized that every experience was meaningful and helped shape who I am today. So I would tell my 2016 self, ‘Trust yourself a little more, and enjoy this moment as much as you can.’ There will be so many happy moments and wonderful people waiting for you along the way, so you don’t have to rush. Just believe in yourself and keep moving forward, one step at a time.”

What are some short-term goals on your mind as you continue to carve out your own path as a soloist?

DAYOUNG: “My biggest goal is to become an artist who consistently makes good music. Through ‘FLIRTY,’ I got to experience a new kind of collaboration and discover a side of myself that I didn’t even know was there. Going forward, I don’t want to limit myself to one genre. I want to keep trying different kinds of music and new projects while developing a sound that is truly my own. More than anything, I want to be an artist who always gives my fans something to look forward to — someone who makes them think, ‘I wonder what DAYOUNG will show us next?’ I want to keep growing through new music and performances and continue showing different sides of myself. Ultimately, I hope to be remembered as an artist whose music people can enjoy and love for many years to come, and I’ll keep working toward that goal.”

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MEGAGONEFREE: INTERVIEW

August 21, 2026

by alyssa crammer

From ukulele covers on 2020 quarantine TikTok to a 2026 Pride tour, MegaGoneFree is a Black, Queer artist shaking the music scene. Within their unique “anti-pop” music genre, they write music ranging from the topics of the damaging effects of AI, to what it's like to be in the public music scene. As an artist, Mega’s main message is to spread love and empathy, making us all feel better about the future of the music scene. We were delighted to speak to Mega about their life experience and what it's been like to be a musician in this era of music.

How has being a Black LGBTQ+ artist impacted the way you create music lyrically and acoustically?

MegaGoneFree: “My identity as a Black Queer artist is often the driving force behind my music. I find a lot of inspiration in my identity and its rebellious nature to authority. The lyrics I create are meant to be empowering to those who find it hard to express themselves fully, which is a large trope within the Black and queer community.”

As an artist, your morals and beliefs give me this sense of hope for the future of our world. Your website says you want to spread a message of “...love, open mindedness, empathy, acceptance, and hope.” What has built you into this mindful, empathetic artist you are today?

MegaGoneFree: “The way I grew up. When I was younger I was bullied and outcasted for being different. As I’ve grown, I’ve gotten more comfortable with embracing my abnormalities. I love what makes me different. I know how hard it can be to embrace who you are with everyone telling you you should be fitting into society. All I want to be is a catalyst for people struggling to accept who they truly are. I want my music to be a safe space to be free.”

Your music isn't a linear genre. It’s more a mixture of multiple genres like pop, R&B and hip hop. If you had to give a name to this genre of music, what would you call it?

MegaGoneFree: “If I had to name it, I’d call it anti-pop. Or simply just alternative. I pride myself on being free of genre, though I do have certain genres that frequently call to me. I want to be known for my versatility. A lot of the time I’m put into a box because my most popular songs fall into a similar genre, but I’m more than just that one genre. Thank you for noticing.”

What is your favorite song you've ever written?

MegaGoneFree: “Ooooooh, well my old answer was ‘Likes & Comments.’ I love the topic of that song, it still very much holds true to the way I feel about content creating to promote my music. But now I’d say my answer is ‘Mx. Perfectionist.’ I love that it’s hard core rock. I love the topic, the feeling of dissatisfaction is a major repetitive theme of my life. The lyricism itself is very reminiscent of my old style of writing from years ago, very abstract. I actually started writing that song in 2020 and there’s even a TikTok that exists with lyrics from that song from that time.”

Your newest song “I Am Not Real” revolves around the concept of AI and how it relates to how people can treat humans at times. Similar to how AI is used, people will only come to you with issues, and leave right after. How do you personally deal with people like this?

MegaGoneFree: “I’m personally still learning to navigate people like this. Logically I know how they should be handled. I know you need to have a certain level of self respect in order to recognize that you’re being used and mistreated. But growing up as a people pleaser, it’s hard to stand on my boundaries sometimes. Especially since I often get caught up in people's potential rather than the reality of the situation. How simple life would be if we could just base our emotions purely off of logic.”

To add to my last question, how do you think AI is changing the music industry?

MegaGoneFree: “AI is horrible for the music industry, or should I say for artists. I recently discovered that my own catalog is being used to train AI without my consent. It’s taking spots on the Hot 100 from true talented artists. Artistic spaces are no place for AI advancement. Unfortunately it’s not going anywhere any time soon. Our government will do nothing to regulate it currently with who is in office. All we can do is continue to use our voices and create radically human art!”

You also have a side business called GonerGLAM. It consists of many crochet pieces that relate to your art. How does this hobby play into your everyday life? Is it a part of your musical journey?

MegaGoneFree: “I learned to crochet in the fifth grade. I never would have thought I’d be able to take a passive skill I learned as a child and turn it into business. I stopped crocheting for years and then started again when I had the idea to create pieces based around my songs. My audience finds it very cool that I’m able to use crocheting as a means of music promotion.”

During COVID, you had many TikToks blow up of your covering hit songs while playing the ukulele. Has this experience shaped you into who you are as an artist? How has it affected how you make music?

MegaGoneFree: “It DEFINITELY shaped me as an artist. I wouldn’t be who I am today without those covers. Every once in a while I’ll return to my roots and make videos like them with current songs. I try to avoid doing so though, because when I do it too much it becomes what certain audiences expect from me. I only want to be known for my own music. I usually stay away from ukulele when creating music. I only really learned it because I was 16 at the time and it was an easy instrument to learn.”

You recently had your Pride tour! What was your performance like on tour?

MegaGoneFree: “It was a beautiful celebration of my entire catalog! There were also a lot of fun surprises. Like a vogue performer for ‘Take This L’ in Baltimore. And a special performance of ‘Henrietta Hudson’ NYC where I picked a guest to come on stage. And during ‘Megatron’ I called people on stage to dance. It was so fun!”

Do you have any advice for our LGBTQ+ readers?

MegaGoneFree: “Don’t be afraid to be who you are. Don’t feel pressured to be something that you’re not. Just be the biggest version of yourself that you can be, and the life that’s meant for you will fall into place around you. You just need to have trust that the path you're walking down will ultimately lead you to where you want to be.”

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'THE BURDEN' / MAE KRELL: REVIEW

August 6, 2026

by dan d’arpe

Singer-songwriter Mae Krell shines in her continued ability to craft songs which obliterate listeners, delivering a new single that is perfect both for the waning peak of summer, and an excellent introduction for her upcoming sophomore album, lullabies for the soul that stuck around. A project which aims to “come to terms with the fact that the hard things you went through weren’t necessarily your fault, but they are still yours to carry.”

“the burden” is both airy and poignant, delivering heavy introspection — and even heavier truths —that sit somewhere deep. Opening with a memorizing, dream-like combination of soulful humming and soothing guitar, the song perfectly captures a sense of being within a dream: both intangible, yet simultaneously vivid. Written following an episode of sleep paralysis, Krell’s poignant lyrics, “I have everything I’ve ever wanted, but I still can’t sleep at night,” shine a moving spotlight on fear, but not in a hysterical sense. Instead, it’s of a quieter quality, as much reflective as it is mournful. An opening line that truly feels almost timeless in how relatable it can be, regardless of age or circumstance.

With that aforementioned meditative melody in the background, the artist delivers a poignant vocal performance that reminds listeners that growth is not always linear. The lyrics reflect on issues of body image, and how trauma is something which can touch and effect life in far reaching ways, shaping how we view ourselves. A contemplative Krell admits, “I think the burden of being me / weighs less when I do / weighs more when I do” in a final send off that lingers in the air well after the track has ended.

“the burden” is the absolute perfect showcase for Mae Krell’s soft but powerful voice, which has an electric ability to be the perfect conduit to so many intersecting and crashing emotions. When mixed with the string section — which includes guitars, and gradually builds to include a soft backing of drums — the effect is truly an emotionally devastating (almost) 4 minutes. Yet it’s 4 minutes that is also unquestionably beautiful.

Three more singles are expected to drop before the album’s November release. And fans will have the exciting opportunity to Mae Krell this August and September, as she lends a helping hand to support Ethan Jewell on his Growing Together Tour.