The fourth annual Ohana Festival is set for Sept. 27–29 at Doheny State Beach at Calif.'s Dana Point. The ocean-side celebration is curated by Pearl Jam's Eddie Vedder, who co-founded the fest and will be headlining. Additional headliners include Glen Hansard, Incubus, Jenny Lewis, LP, Nathaniel Rateliff & The Night Sweats, the Red Hot Chili Peppers, the Strokes, and Tash Sultana.

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Former Pearl Jam drummer Jack Irons is also on the bill, along with Laura Jane Grace And The Devouring Mothers,  Lukas Nelson & The Promise Of The Real and White Reaper.  

"It's been a true honor," said Vedder last year, "to work with the community and organizers to create a stimulating vibe and uplifting atmosphere for the great crowds and incredible musicians who come out to play in the park."

Tickets go on sale on March 8 at the festival's website. A portion of Ohana Fest's proceeds will be donated to the Doheny State Beach Interpretive Association, the San Onofre Parks Foundation and other charities.

Students Meet Their Hawaiian Ohana At The GRAMMY Museum

Laura Jane Grace is on the precipice of a brand new life.

The Against Me! frontwoman just got married in a whirlwind, to comedian Paris Campbell. Her Jeep got sideswiped by a drunk driver; when we spoke, the pair were on an Amtrak from Chicago to St. Louis to pick it up from the mechanic. At press time, Grace and Campbell will soon drive it back to their new, shared home in Chicago: they've been handed the keys, and they're in the center of that maelstrom.

"We've moved Paris' apartment from New York to Chicago, and now we're moving my apartment to the house we got," Grace tells GRAMMY.com over the phone, sitting on the tracks with Campbell in Joliet, Illinois. "It's scientifically proven that moving is one of the most stressful things you can do in life.

"Just take my word for it," she quips, when asked if that's true. "Don't Google it."

Grace has done a lot of Googling as of late — to mixed results. Her latest solo album, Hole in My Head — helmed by Drive-By Trucker and Dexateen Matt Patton — dropped Feb. 16, and the press cycle rolls on.

Warm, lived-in and melodic songs like "Dysphoria Hoodie," "Birds Talk Too" and "Tacos and Toast" comprise a satisfying continuation of what Grace does best: yowly, heartfelt punk rock. But presenting them to the world has been challenging. Tidbits from the bio get blown out of proportion. Flat-out mischaracterizations make it to print, and stay there.

She's not bitter about any of it; she's mirthful. "I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making," she says. "But I would rather people are saying good things than bad things. I notice that people are saying good things."

They certainly are. Read on for an interview with Grace about the process behind Hole in My Head, parenting, espresso, Slash versus Izzy Stradlin, and much more.

This interview has been edited for clarity.

I'm sure you've talked about these songs to death. I want to talk about the — let's say indignities — of releasing a record. Like, "Hey guys, it's three weeks old! Do… you still like it?" as it recedes into the rearview.

Yeah. I was thinking that to myself last night, because I'm a little burnt out on social media at the moment. But I feel that pressure of like, Alright, you put out a record, you've got to promote on social media — you'd better make a post or else people are going to forget that literally last week you put out a record that you've been waiting a year to put out!

And it can be a little disheartening at times, for sure.

Psychologically, what's it like to read the reviews? It seems like the doomsday clock for digital media is at 11:59. Reviews used to make or break careers; these days, they seem to comprise an irrelevant sideshow.

It's strange, because I still think of reviews ultimately in the context of how I thought about them with zines. Oftentimes, you would look through zines and you would see the reviews, and that would be your clue and context of what was happening — other bands to tour with if they had a record coming out, or whatever. People that you'd reach out to.

I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making. But I would rather people are saying good things than bad things. I notice that people are saying good things.

And then also, as you said, I'm aware of the layoffs [in music journalism and digital media as a whole], and I'm aware that you've almost got to be thankful for [any press], as a whole community.

Part of my job is promoting those media outlets in a way, too. And that's just through literally just moving your thumb a couple of inches or whatever and pressing repost or retweet or whatever.

You had a funny tweet recently about how the reviews focus on the relative brevity of the songs, even though that's conventional on pop radio. Is that kind of thing somewhat bemusing — or frustrating?

I get frustrated with it, because the record took two years to write, and then it takes however long to record. But then, it all comes down to the bio. The bio is what all the journalists use as their touch points or talking points.

So, if you say the wrong thing in the bio, then everyone is asking those wrong questions for every interview. It's like that the whole time. It's almost like the bio makes or breaks your record.

And then, you're also tasked with trying to understand something that you just made; with a bio, that's oftentimes really hard to do. You're like, "I don't know, I just wrote it. I don't know what it means. I don't want to have to explain it," but then you got to explain it for the bio.

Without naming any names — and you can obscure the language if you like — what's an example of a wrong question you get asked?

The song length thing is one thing, but then the whole thing where people being like, "Oh, the record has a real '50s influence." It's like, "Shut the f— up. It just says that in the bio. Did you even listen to the record? Have you heard it?"

It just sounds like an Against Me! record. It's literally the same process that I've been doing for the past 25 years. I'm not writing songs any differently or approaching them any differently. I read one review that said that it had "handclaps and whoas, which are decidedly not punk." I'm like, What?

Outside of the press, where are we catching you in life, with Hole in My Head out in the world? You're on the precipice of a completely new epoch of existence.

That's what it is. Huge, massive changes happening in life. And that's the thing you don't want to happen in a way, with a record — where a year in between completing it and putting it out because you've got to pull yourself back to that place to even talk about it for interviews then, which can be hard sometimes.

I'm excited about songs that we recorded back in December and then excited about writing new music and just now having a record released holds you in place in that way. So, having it out is a good thing, and [being] free to move forward.

This is a cliché, but whatever: Hole in My Head sounds like a snapshot of where you are in the moment. Some records feel like promotional noise and don't tell me anything about the artist. Have you written in that slice-of-life, "Tacos and Toast" way before?

I think I was building towards that. I am happy with the way that song came out, but it took a lot of work to get to that kind of flow. But I think a song like "Shelter In Place," off of Stay Alive, was a precursor to that style, maybe.

Are you talking about honing your focus on syllables and stresses and stuff? Or themes?

More just relaxing into it.

Tell me more about that.

Like I said, the song "Shelter In Place" was a precursor to that song, because they both mention espresso. So, you're singing about your morning coffee, which to an 18-year-old punk kid probably seems really uninteresting. But when you're in your forties, you're like, Hell yeah. My morning cup of espresso — looking forward to that. I want to sing about that. I'm excited about that.

But I think it takes a nuance to be able to work that into a song. And I admire songwriters like John Prine or Dan Reeder, who were able to sing about their morning breakfast steaks and s— like that and make it good.

**I'm a huge John Prine fan. I don't sense he sat down and overworked anything. It all seemed as natural as breathing. So, it's almost like unlearning.**

Totally. That is what it is: natural as breathing, if you're writing about eggs, you're not trying, and it's coming off way better. And there we are with a Jonathan Richman reference: "They're not tryin' on the dance floor."

I'm not going to make you explain this song, because it's a song. But "I'm Not a Cop" touched a nerve in me, as per how we police each other day-to-day.

There's that, and then I think also it even relates to being a parent and realizing you don't have the authoritarian bone in your body and that that's not you, but I don't know. There might not be many things I'm confident about in life, but I'm definitely confident about that statement.

And, also the observation of seeing a cop at Superdawg eating a hot dog. It makes me smile every time I sing it.

Tell me more.

Literally, I drove by the Superdawg, which is a famous hot dog place in Chicago, and there was a cop in there eating a hot dog. It's f—ing hilarious.

Has parenting been a mind-bending, acid-like experience for you? Or did it all come naturally?

Yeah, mind-bending for sure. Last night, I got in a pseudo-argument with my kid, because they were criticizing me for only playing rhythm guitar that I never played solos. [Note: Grace's child uses they/them pronouns.]

They were specifically saying this because they're just a better guitar player than me already. And they really have focused on solos and doing really intricate guitar playing parts. I'm like, Goddamn, this is just surreal to have your kid digging into you about your guitar playing style. 

Basically, they're saying they're Slash, and you're Izzy Stradlin — suck it.

Are they hitting ultimate-guitar.com? What's going on?

They're rad. They're really, really, really good. I feel like they're seconds away from starting their own band.

What are their influences?

I gave them a Fleas and Lice record yesterday to listen to. They're really into punk, and really into odd stuff. At this point, I'm looking to them to see what's going on and what I should be listening to.

You mentioned that this is the process you've always abided by. But, can you talk about any special production flourishes here, or anything like that?

I was working with what I had. If I had had a drummer with me at the time, it would've been a  different record. But I didn't, so the drums came out the way they did.

I think the biggest addition and blessing with the record is Matt Patton. Him raising his hand and going to drive up to St. Louis — having never met me before — and spending a week in the studio. The parts he came up with are so rad; they make those songs. If it weren't for him, it would've been an entirely different record.

One thing I don't like to do when finishing a record, is listen to it comparatively to the record before it. Even sonically, I want to be surprised by it down the road.

Is making a record almost an uncomfortable experience, where you don't want to look at it too long? Is it like staring into the sun?

Yeah. That's ill-advised. I was actually thinking about that earlier. We were driving down and the sun was coming up and I was staring at it and I was like, Don't look into the sun you fucking idiot."

I think the uncomfortable part of the experience is the necessary part of the experience, and you have to push through the uncomfortable to get to the comfortable part — to know that you've got a good record.

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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"I am thinking it's a sign / that the freckles in our eyes / are mirror images / and when we kiss / they're perfectly aligned," Ben Gibbard sings on the Postal Service's 2003 classic "Such Great Heights." If you consumed American media in the early aughts, those memorable lyrics may well be committed to your memory, as it saw placement on "The O.C.," "Grey's Anatomy," "Veronica Mars," Garden State and an assortment of commercials.

This was the band's biggest song from their only studio album, Give Up, released on Sub Pop on Feb. 18, 2003, and it almost didn't happen. Producer Jimmy Tamborello tells us it was originally going to be a cover of an '80s deep cut, but it just didn't click. When they decided to nix that idea, Tamborello used a similar sonic palette for what became "Such Great Heights."

Yet the song — and the Postal Service side project itself — came from a very DIY and creative space. It all began sometime in 2001, when left-field electronic producer Tamborello, a.k.a. Dntel, reached out to Death Cab For Cutie's Gibbard to sing on a track on his debut full-length, Life Is Full Of Possibilities. The collab session at Tamborello's L.A. home studio went so well that Gibbard suggested they make more music, and Tony Kiewel at Sub Pop urged them to make an album versus an EP to make more of an impact with reviews and sales.

They had no idea the project would resonate as widely as it did, let alone that we'd still be talking about it 20 years later. And the staying power is real — to this day, it’s the second-best selling album on Sub Pop, second only to Nirvana's debut Bleach. In 2012, just shy of its 10th anniversary reissue and much-anticipated tour, Give Up reached platinum status.

2003 was an important year for everyone involved with the Postal Service. Death Cab For Cutie released their critically acclaimed fourth album, Transatlanticism in October, which caught the attention of Atlantic Records (who signed them in 2004). Jenny Lewis — who sang backing vocals on Give Up and has been a part of their live band since their humble first tour in 2003 — also struck gold with her band Rilo Kiley's 2002 album, The Execution Of All Thing.

The Postal Service toured Give Up for a few weeks; the gigs were small, but the album’s popularity grew as they made stops in North America and Europe. When the group's members  went back to their main projects, the Postal Service was set aside for a decade. Yet the album  continued to make waves. There were never plans for a second album or tour, but Gibbard was regularly asked by interviewers about new Postal Service music.

Gibbard and Tamborello attempted further collaboration which resulted in a few singles (including the perfect Phil Collins cover for the 2004 Josh Hartnett film Wicker Park). The pressure for new Postal Service music was very real, but as their careers had taken off, space for collaboration had narrowed. 

Twenty years later, Gibbard will lead the Postal Service and Death Cab For Cutie on their first-ever joint tour playing both 20-year-old albums in full. The tour kicks off on Sept. 5 in Washington D.C. and wraps on Oct. 17 at the Hollywood Bowl in Los Angeles.

To celebrate what is sure to be a memorable, tear-jerking run of concerts, GRAMMY.com recently caught up with Tamborello and Lewis to revisit the beloved side project that continues to take on a life of its own. 

Back in 2002 when you were working on Give Up, did you have any idea that we would still be talking about it today? 

Jimmy Tamborello: No, not at all. It really felt like a side project when we did it — just something that was fun to do. I couldn't really even figure out what the audience for it would be when we finished it.

Jenny Lewis: I just was happy to be there for the two days I laid down my vocals. I didn't really think much about it.

In our world, side projects are pretty common. Over the years, I've done five or six side projects. It's really just a creative outlet; a way to try something new with low stakes. I always do best under low stakes.  

Do you think the lack of pressure or expectation — and the earlier points in your careers — made Give Up a special, inimitable project? 

Tamborello: That was during the time I was the least aware of how other people were hearing what I was doing, so it was a little freer. 

Lewis: Yeah, it was very free. I think the burden of knowing too much can creep its way in and then you can't help but kind of get jaded with your own music after putting out 10 or 15 records. 

There's something so precious about Give Up because it's this time capsule. It's frozen in amber. And although we revisit it, it's still this very special, pure thing that's untainted by time or pressure to do it again.

Tamborello: I bet I worried about it more than I remember now. I was still pretty neurotic, so I was probably stressed out about it back then.  

Lewis: But the expectation was low. When we were on the road touring it, things started happening. We booked these tiny little places. We had a show booked in this really small spot in Barcelona, and they moved us to the big room, which had never happened in my career before. To feel that kind of momentum while we were out touring was really unique. And then we stopped touring it for 10 years. 

Tamborello: I'm surprised we even put a tour together in the first place. I don't know if Sub Pop wanted us to do it or we just thought it would be fun, but we could have easily just never toured it. Even though we only did a month of touring, I think that did solidify us as a band and probably somehow gave us more lasting power. 

What did it feel like on that first tour to see the success of the album happening in real time? 

Tamborello: They were pretty humble successes when we were on tour. It was little steps up — we were still playing 200-person clubs, besides maybe L.A., which felt extra-big. 

Lewis: Although these little things were happening, we were caught up in the logistics of being on tour; carrying our gear, loading in and out and driving ourselves around. 

Tamborello: There were a lot of people in the van. [Chuckles.] 

Lewis: We shared one room. Jimmy and I shared a bed. Nick [Harmer] — from Death Cab was our tour manager — and Ben shared a bed. That's how we did it back then. So you're in the weeds getting to the shows and making them happen. And then these little fun things happen where you're like, "Oh my goodness, people are kind of dancing in the crowd. Whoa." They don't dance as much at emo shows. 

Tamborello: I'd only done a couple tours with a band before that. They were really small, like, two people at a house. So it was crazy even just to sell out one show on a tour. I think the most my band got paid on the tour before that was $100 and pizza or something. Ben and Jenny had more experience with that level of touring. 

Lewis: [Rilo Kiley] had just put out The Execution Of All Things on Saddle Creek. I think we had put out a record and an EP and toured for a couple of years.  

We made the [Postal Service] record and then I just went on doing my band. You guys sent me a copy of it on a CD-R. I was on tour with Rilo Kiley and Desaparecitos, and we were all in our 15-passenger van. I was like, "Oh, I got this Postal Service record. You guys want to listen to it?" Everyone in my band freaked out, especially Denver [Dalley of Desaparecitos]. He was like, "Whoa dude, this is gonna be huge." I was like, "What?!" It hadn't even occurred to me, but when I played it for my peers, they were like, "Wow, this is next level." 

I think my band was worried, like, "Oh my gosh, are you gonna leave us?" There were all these mixed emotions. We listened to the record and then everyone was like, "Can we listen to that again?" 

Tamborello: I remember a lot of memories of listening to Execution Of All Things and [Death Cab For Cutie's] Transatlanticism [after] getting copies from you guys, and loving those albums. 

Lewis: Yeah, all three of those records came out [one after another]. Execution changed my band's trajectory. The Postal Service was happening simultaneously and Transatlanticism. It was a lot. But it was small back then. It was pretty DIY.

In what ways did you feel Give Up sonically impacted indie rock at that time? And how did it impact your work going forward? 

Tamborello: I think we were already at the beginning of the wave of electronics getting really deep into indie rock. 

Lewis: I think when you're in it, you don't really notice it, because you're just doing it. Jimmy and I collaborated after that for Dntel and Jimmy produced a Rilo Kiley song. I think we just kept going, and this was now part of the palette. Having Jimmy as a producer and a resource is a whole new world of sounds. It was very exciting for my band. 

I think it took a couple of years for it to kind of infiltrate television and scoring, as a part of this wave of electronic music becoming more mainstream in the indie world. There was a mainstream band that put out a song that kind of sounded a little bit like the Postal Service, but we weren't active. The record was just doing its thing, but we had done our tour and we had gone back to our regular lives.

Give Up was a mostly remote collaboration, hence the name the Postal Service. Jimmy, were you sending demo CD-Rs to Ben via USPS or was it a different mailing service?

Tamborello: I think it was USPS. I have the envelopes and there's stamps on them and stuff. I still have a stack. 

Lewis: That was pretty unprecedented to not be in the room with someone. There's something to figuring out your parts and writing in that kind of space, and then sharing it. When you're in the studio, you're playing a character version of yourself because everyone's watching you. But to have that [privacy], makes it really real.

Jimmy, how did you meet Ben?

Tamborello: It was through my roommate Pedro. He was in a band that toured with Death Cab, so they were friends. I was working on the Dntel album and asked Pedro if I could send Ben some music. And then Ben came to stay with us to hang out. That's where we recorded ["(This Is) The Dream Of Evan and Chan"] and got to know each other.

Lewis: And when did you guys say, "Hey, let's make a whole record of this stuff?"

Tamborello: That trip, when we recorded that Dntel song. I think Ben brought up doing more stuff, I don't think I would have. I remember being on the phone with Tony [Kiewel] at Sub Pop that weekend, talking to him about it, and he said we should do a whole album. And that was the beginning of a year of making it. 

Lewis: That's an example of a good A&R person. Non-intrusive but like, "Hey, this is cool, you guys should make a whole record." Maybe you wouldn't have done it if it wasn't suggested. 

Tamborello: We would've done an EP or something, and he pushed us into a full album. 

**"(This Is) The Dream Of Evan And Chan" sounds like it could've been on Give Up. What was the creative process like when you made that song together and how did that inform the process of Give Up? **

Tamborello: That process was really easy. I was pretty far into making that album and I wanted a more upbeat song. I made the instrumental; I don't think I made it with Ben in mind. Once I thought of him as an option for a singer, I sent him that song and he wrote [lyrics] to it. Then he came to visit and we recorded it in an afternoon. I didn't have to change anything he did.

When we started making Give Up, I figured that song was going to be the launching point, the sound blueprint. I was figuring it would get kind of weirder, more experimental from there. I like the idea of his really pretty voice on top of more messed up music. I don't know what happened; immediately everything I was making came out more pop-y. And once he started singing on that stuff, it just snowballed from there. I'm so relieved we didn't make a super experimental album.

**Were there any unreleased or unfinished tracks from that original Give Up-period? Or did everything fall together and go on the album? **

Tamborello: Everything went on the album. There's a song called "There's Never Enough Time" that ended up being the B-side for one of the singles. Basically, the first 10 songs we made were the album. 

We attempted a cover for a second that I don't even think Ben ever sang on and then scrapped it. We used the same kind of palette — not the same music or the same sounds — and changed it into "Such Great Heights." That was lucky. Our lives — or mine — would have been so different if we'd had an obscure '80s band cover song on that album instead. 

Lewis: But that's the freedom within collaboration [outside of your main project]. When you're in a rock band and you're like, "Let's make a hit song," it feels contrived. It feels lame. But the freedom to not have the pressure to do one thing or the other, to just make music with this very honest collaboration is so cool. You weren't trying to make a hit song. 

Tamborello: It hadn't really happened yet that indie rock was becoming a viable way to have a hit. That kind of happened as we were making it, so that possibility wasn't on our radar. 

Lewis: For me, every step of the way, it's been so surprising that it's endured. When it comes around every 10 years, it's like "Oh my goodness, we're gonna do this again? People still want to come and see this? This is incredible." 

**"Such Great Heights" really did take on a life of its own. It got played on alt-rock radio. It was in the Garden State trailer and on "Grey's Anatomy" and "The O.C." Why do you think about that song resonated so widely at the time? **

Tamborello: I don't know. I mean, it has a repeating chorus and a sweet, clear message. 

Lewis: Yeah, it's interesting that other artists at that time and filmmakers gravitated towards that song and it just fit. 

Tamborello: It's a really fast song too. It's weird for a song to be successful when it's 170 BPM. 

It's fast even for a dance record. [Note: Billboard Hot 100 hits in the 2000s averaged around 100 BPM.]

Tamborello: It's faster than a techno song. 

I don't think any of those shows existed yet when you were making the song, but if you were tasked with making the theme song for "Grey's Anatomy," it would probably end up being very different. 

Lewis: Yeah. And they wouldn't have done that. It became that, but I feel like at that moment, we didn't do stuff like that. The Shins had their song in a McDonald's commercial [in 2002]. There were these sea change moments where things that you weren't supposed to do before — coming from the punk or Pavement ethos — you could kind of do them. My band had a real powwow about licensing songs at first. Like, "Is this cool? Is this the right thing to do?" And now all bets are off.

What did it feel like revisiting the album on the 2013 tour?

Jenny Lewis: Well, we sort of had a template because we had done it 10 years prior with just the three of us. We had this foundational thing where Ben and I were doing the vocals and playing guitars and keyboards and hit pads and the music really was coming from Jimmy. So we had a rough template and expanded it with the tech and we added another member to have more live stuff and vocals. Every 10 years, we have a place to build from and we have become a real live band.

I think you could just go out there and press play and it would have a similar impact because the songs are so good and it feels so good to hear those songs. As a fan of the record, when "The District Sleeps Alone" starts, I'm just full body chills because I love it so much. Whatever accoutrement is there I don't think necessarily matters because the songs and vibe are there.

Tamborello: For the 2013 tour, I hadn't kept my files in order at all, so I had to rebuild a lot of the songs which was stressful. I managed to save all those files on a hard drive and keep them all these years even though I didn't think we'd ever be doing it again. But yeah, the 2013 one was a little bit crazy, trying to find pieces of the songs and put them back together.

I think each time we do it, it sounds better. It gets adjusted and the tracks get better and the tech gets better. The sound people that we have on tour are really good and have done a lot to make the songs sound as good as possible. They're pretty lo-fi songs, so in 2013 it was scary thinking about how they're going to translate into these big venues on big speakers. [Before, we were] a band playing in small venues with no sound guy. They weren't very powerful sounding I don't think. [Chuckles.]

Lewis: But they sounded better than any other tour I'd been on then. 

What are you most looking forward to as you revisit the album again on the upcoming tour?

Tamborello: I mean, every part of it is exciting. There's still so much up in the air about what it's going to be like once we start. But being back rehearsing for it has me excited about being back traveling with Ben and Jenny. 

Lewis: When you tour all the time, you don't really get to spend a lot of time with your friends unless you're out on the road [together].  I'm so excited about the shows but, really, I'm excited about hanging out with Jimmy and Ben and getting to experience this again together. A decade is a fair amount of time to have everything come together or fall apart in your life. [I appreciate] the consistency of this band being able to dip in every 10 years and be like, "We're still friends. This record still exists. My life has changed." We get to catch up over a couple months. I think that'll be really fun.

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This year marks the 15th anniversary of San Francisco's Outside Lands, and while the festival always boasts the Bay Area's best, the 2023 lineup is especially stacked with incredible female and nonbinary talent. From aespa making K-pop history to La Doña's homecoming, the fest's latest iteration is bound to be badass.

Whether you're planning on shimmying to Janelle Monáe, spitting every Megan Thee Stallion verse, or sobbing to Lana Del Rey, Outside Lands will be bursting with energy and seemingly endless options.

As San Francisco transforms Golden Gate Park into a lavish festival ground for three days, check out these 10 performers ready to electrify the city.

Megan Thee Stallion

Time to get lit like a match. Megan Thee Stallion has been hitting stages across the country this year — from LA Pride to her hometown of Houston for the Men's NCAA Final Four — and there's no doubt she'll bring the heat to Golden Gate Park on Sunday. Though the three-time GRAMMY winner is known for her high-hype, feel-good freestyles, her latest album, Traumazine, opens up about anxiety and the importance of self-care. So whether you're having a hot or healing girl summer, her headlining set will be the spot for festgoers to let loose.

Janelle Monáe

On Friday, Janelle Monáe will usher San Francisco into The Age of Pleasure. Sensuality and freedom flood the singer's most recent album, and for Monáe's headlining show, fans can expect bursting psychedelic soul, pop and hip-hop in an evening full of color and love.

Emphasizing intersectionality and identity (Monáe identifies as nonbinary), her wide-ranging performance will traverse her trailblazing concept albums like GRAMMY-nominated Dirty Computer and The ArchAndroid. Having conquered both the big screen and the stage as a multihyphenate, Monáe's set will be nothing short of a spectacle.

beabadoobee

Hot off supporting Taylor Swift's Eras Tour, beabadoobee is headed to Golden Gate Park on Sunday afternoon. The Filipino-English singer/songwriter has carved out a space for herself between indie rock and bedroom pop, first becoming known for her sweet, spacey falsetto and her sleeper hit "Coffee" in 2020. The indie star has since expanded her worldbuilding abilities rapidly, spinning intricate scenes from her debut Fake It Flowers into her scenic second album Beatopia — similarly, beabadoobee's Outside Lands set will likely flaunt the vitality of her imagination.

Raveena

Raveena is the definition of grace, and her Friday Outside Lands set is sure to swell with serenity. Mindfulness is the objective of the singer's soulful music as she grounds herself through tranquil mixes of R&B and pop. From her 2019 debut Lucid to 2022's Asha's Awakening, her voice epitomizes comfort whether it floats through delicate strings or stony drums. At Golden Gate Park, Raveena will bring momentary, blissful peace to the festival's chaotic fun.

Ethel Cain

Ethel Cain is ready to take concertgoers to church — even on a Friday. The experimental breakout star is known for dissecting dark, Southern Gothic themes in her music, establishing herself as a rising leader in the modern alternative genre (and also in the LGBTQIA+ community, as she is a trans woman). Her debut album Preacher's Daughter only came out last year, but the critically acclaimed album swiftly earned the musician a cult following. After bewitching Coachella audiences back in April, Cain's upcoming Outside Lands set is sure to be compelling.

NIKI

More than 10 years after she wrote her first original song, NIKI is ready to storm the Twin Peaks stage. Her deeply sincere indie pop drifts with bittersweetness, and it's powerful to witness how well the Indonesian singer's intimacy translates to massive crowds.

Signed to label 88rising in 2017, NIKI soon found herself playing concerts for a growing global fan base that resonated with her heart-to-heart songwriting. Ranging from the dramatic depths of her debut album, MOONCHILD, to 2022's earnest self-titled Nicole, NIKI's Outside Lands set will be perfect for listeners who want to escape with their head in the clouds.

Lana Del Rey

Lana Del Rey is the reigning queen of summertime sadness, and she'll be doin' time at Golden Gate Park as one of Saturday's headliners. Known for spinning tales of tragic romance, the GRAMMY-nominated singer/songwriter plans to enchant audiences at Twin Peaks stage following her release of Did You Know There's a Tunnel Under Ocean Boulevard. Her discography haunts and aches, filled with everything from folky gospel to trap pop; if one thing's for sure, Del Rey's highly anticipated performance is bound to be a spiritual journey.

La Doña

Born and raised in San Francisco, La Doña is making her city proud by performing at the Bay's biggest annual music festival. Taking the Lands End stage with her 11-piece band on Friday, the Chicana musician has come a long way since picking up the trumpet at age 7.

Centering around personal identity and community, her music beautifully merges traditional Latin folk with modern cumbia, reggaeton, and hip-hop. La Doña's progressive sound just earned her a spot on Barack Obama's annual summer playlist, and less than a month later, her hometown will get to see what all of the hype is about.

aespa

When aespa takes to Twin Peaks stage Friday, they'll make history as the first K-pop act to ever perform at Outside Lands. Exploding onto the music scene in 2020, the innovative South Korean girl group gives K-pop a fresh edge, distinctively inspired by hyperpop and hip-hop. The group's name combines the words "avatar," "experience," and "aspect," representing their futuristic style that's often embellished by a metaverse aesthetic. Their mind-blowing Coachella and Governors Ball debuts hinted that aespa is ready to pull out all the stops for their Outside Lands crowd.

Maggie Rogers

Maggie Rogers knows how to break free. The 2020 Best New Artist GRAMMY nominee will get the crowd hyped for Saturday headliners Foo Fighters with an enthralling set. Although her debut album Heard It in a Past Life pulses with steady revelations, her alternative follow-up Surrender leans into sweat and desire. As she's proven at many festivals past, Rogers' show will be infused with bright energy, from the slow emotional burn of "Light On" to the exhilarating "Want Want" as the sun goes down.

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