Closing Out Portola Festival Day 2: Legendary Sets, Powerful Finales, and a Perfect End to Festival Season in San Francisco
After an unforgettable day one packed with dance floor anthems and standout performances, day two of Portola Festival picked up right where the magic left off—delivering an electrifying mix of energy, artistry, and surprises. From long-awaited sets by iconic acts to unexpected standout moments, the final day brought a perfect mix of nostalgia and cutting-edge beats that left the crowd buzzing. With the cranes of the shipyard silhouetted against the cool San Francisco sky, the atmosphere felt alive with anticipation as festival-goers embraced the last day of a weekend dedicated to the love of music.
RAF SAPERRA: Electrifying the Ship Tent with a Bollywood-Infused Frenzy
Sunday kicked off in the Ship Tent with a high-energy set by English Bhangra artist Raf Saperra, whose electrifying blend of hip-hop, techno, drum and bass, and traditional Bhangra beats had been on my radar all weekend. Making his American festival debut, Saperra came dressed to impress and packed enough charisma to supercharge the beyond-hyped crowd, a large part of which included fans of Indian or South Asian descent. Known for infusing U.K. beats with Indian musical roots, Raf (which, fittingly, stands for “Raw as F*ck”) delivered a set that felt like a 12/10 from start to finish.
Saperra’s Bollywood-inspired stage show was a dazzling spectacle, with bright colors, flashy metallics, and lights that seemed to pulse with the beat. His hybrid sound—a clever blend of Bhangra, hip-hop, and techno—was layered with infectious enthusiasm that made the entire tent feel like a massive, inclusive dance party. Dripping with swagger and naturally magnetic, Saperra commanded the crowd’s attention effortlessly, turning his set into an experience that was as visually captivating as it was sonically innovative.
Midway through, he took things up a notch by bringing out two traditional Indian dhol drummers and a small troupe of Bollywood-style dancers, elevating the energy to a new level. The sight of traditional instruments and dancers weaving into his drum-and-bass-inflected breakdowns showcased his ability to blend English electronic influences with his Indian heritage seamlessly. This added layer of cultural fusion not only wowed the crowd but also hinted at why Saperra’s genre-blending style is gaining such fast popularity. It’s a sound that brings something for everyone, even for those unfamiliar with the Bhangra genre.
It’s no surprise that Saperra had a sold-out show the following night in Berkeley, California—a fitting follow-up for an artist whose unique appeal was unmistakable. His drum-and-bass breakdowns threaded through the set added an extra layer of energy, nodding to his U.K. roots as much as his Indian lineage. With such a dynamic performance, Raf Saperra is undoubtedly an artist to keep an eye on as he continues to push the boundaries of global Bhangra in his own raw, unfiltered style.
Busy P B2B Braxe and Falcon: A Funky Throwback in the Ship Tent
One of the highlights of any electronic music festival is the back-to-back sets, where legends of the scene take turns spinning, merging styles in real-time. Portola Festival raised the bar by arranging a dream collaboration: the powerhouse trio of Busy P, AKA Mr. Ed Banger himself, alongside the iconic Braxe and Falcon. This wasn’t just a set; it was a masterclass in early house vibes and funky, sunshine-filled grooves that made the Ship Tent feel like a throwback to the roots of dance music.
Busy P, the head of Ed Banger Records and a legend in his own right, took command alongside his longtime friends Braxe and Falcon, both French house pioneers who have influenced electronic music since the ‘90s. Despite being veterans well into middle age, the trio radiated infectious energy, proving they’re still every bit the party-starters they were in their heyday. Braxe and Falcon, known for shaping the French touch sound with hits like “Music Sounds Better with You,” brought an elated crowd to life, each track rolling out with the unmistakable, soulful warmth of classic French house.
The set was a true treat for fans of all ages, and the crowd was a vibrant mix of old-school ravers and newcomers to the scene. Busy P, who would later reappear with headliners Justice that evening, dominated the Ship Tent, skillfully trading tracks with Braxe and Falcon as they played off each other with the kind of effortless groove that only comes with years of friendship and musical chemistry.
Though I only had about 20 minutes to bask in this moment, it was time well spent. Hearing “Music Sounds Better with You” spun by its original creator in a tent packed with nostalgic, smiling fans was one of those rare festival moments that remind you why you fell in love with dance music in the first place.
Rebecca Black: Pop Spectacle with a Campy Twist
Next up was none other than pop culture icon Rebecca Black—a set I’d been beyond curious about since the lineup dropped. Black, who finally released her debut album Let Her Burn in early 2023, was one of the wildcard bookings at the festival, and I was eager to see how she’d translate her fresh sound and self-aware persona to a live festival stage. Known for her infamous viral hit “Friday,” Black has reemerged in recent years as a genre-blending artist and even moonlights as a DJ. But today, she brought a full-throttle live performance that was a spectacle in the truest sense of the word.
Complete with two muscular, hunky male backup dancers who looked like they could step straight off a Chippendales stage, Black kicked off her set in style. Her dancers carried her onto the stage in true diva fashion, setting the tone for what was about to be one of the most theatrical sets of the weekend. The performance leaned heavily into camp, with every moment meticulously planned and executed, using comedic and creative props that injected humor and sass into each song. Her dancers worked the crowd with wild abandon, their moves a mix of over-the-top humor and sharp choreography that had the audience equal parts cheering and laughing.
Rebecca Black showed off impressive live singing chops, coordinating complex dance choreography with full-throttle vocals. The entire performance felt like a callback to the early 2000s era of pop queens like Britney Spears and Christina Aguilera, with headset mics and perfectly synchronized backup dancers. While it had a different, edgier vibe, Black’s energy and commitment channeled the unapologetic, high-octane pop essence we didn’t know we needed—a burst of free-spirited, in-your-face fun to escape the monotony of daily life.
Although I had originally planned to catch part of her set before heading over to the Pier Stage for Anderson .Paak, aka DJ Pee-Wee, Black had me hooked from start to finish. Her dancers created a comedy show of their own in the background, blending professional dance moves with flamboyant, ridiculous props that kept the crowd entertained and engaged. Between the laughter, the choreo, the costumes, and Black’s powerhouse voice, she brought everything you could want from a pop performance: talent, attitude, swagger, and a hefty dose of camp.
Going into the weekend, I wouldn’t have guessed that Rebecca Black would be one of the standout acts, but here I am, saying it with confidence. As a TRL-era millennial, I have a soft spot for classic pop icons, and Black’s set reminded me of the infectious joy that old-school pop stars brought to the stage. Rebecca Black is back—and this time, she’s at the top of her game, embracing every bit of her pop prowess and bringing a nostalgic yet fresh energy that left the crowd buzzing.
Chase and Status: Drum ‘n’ Bass Mayhem at the Crane Stage
I made my way to the Crane Stage just in time to catch the end of JPEGMAFIA’s electrifying, cyber-hip-hop set. Although I only managed to catch three songs, the one-of-a-kind hyper rapper delivered an intense, entertaining performance that nearly deserves its own spotlight. By the time he wrapped up, the crowd was buzzing with anticipation as the drum and bass legends Chase & Status took their place at the decks.
As a huge drum and bass enthusiast, I was thrilled to catch Chase & Status—true veterans of the scene—bring their bass-heavy mastery to life. The environment couldn’t have been more perfect, with the sun setting over the shipyard and the cranes looming in the background.
While I’m no stranger to outdoor dance sessions, there’s something magical about a sunset set. And in this case, the cool San Francisco air created a refreshing contrast, replacing the typical hot-and-sweaty feel with a brisk urgency that had everyone dancing to stay warm. With Chase & Status right there in front of us, the energy was electric from start to finish.
One thing I love about any drum ‘n’ bass set worth its stripes is the incredible dance moves from both old-school ravers and the newer generation of fans. The crowd was a mix of styles, with dancers gliding through each track with a dreamy abandon, shifting from wide, boxy steps to nimble, skippy moves that matched the high tempo of the music. When “Disconnect,” their massive collaboration with Becky Hill came on, the crowd erupted—hands in the air, everyone jumping and losing themselves in one of the past year’s most iconic drum and bass anthems.
The 50-minute set seemed to fly by, with each liquid, shuffling, and wobbly track melting into the next. Chase & Status brought a perfect balance of variety and flow, keeping the crowd fully engaged and on their feet the entire time. There was barely a still body in sight, everyone lost in the music and feeding off each other’s energy. It was a rare treat to experience Chase & Status up close, watching them work together with an effortless dynamic that reminded me of duos like ODESZA or Polo & Pan, who have that same natural symbiosis on stage. Observing them seamlessly switch off, bopping around with easy camaraderie, was just as entertaining as dancing to their beats.
Sure, I’m pretty sure I caught a bit of a cold while dancing outside in the chilly air, but it was worth every sniffle. Chase & Status are truly a world-class act, and their set was one of the highlights of the weekend. Their ability to command a crowd and elevate the energy to new heights is unmatched—definitely one of the best acts I saw all weekend and a reminder of why they’re considered legends in the drum and bass world.
M.I.A.: A Provocative Return to the Crane Stage
It’s been nearly 20 years since I last saw M.I.A. live. Back then, on her Kala tour in the early 2000s, “Paper Planes” was just beginning to make waves. It wasn’t yet a radio hit, but hearing it live, I could sense it was about to be big. Fast-forward to the second night of Portola Festival, and M.I.A. was headlining the Crane Stage. As I stood pressed against the barricade, waiting for her set to begin, that same sense of anticipation buzzed through me. No one knew quite what to expect from the often-outspoken, many-times-canceled artist who has since transformed into a born-again Christian.
When the lights finally flickered from pitch-black to reveal a double-decker stage setup, the crowd was met with a dazzling spectacle. M.I.A. wasted no time launching into her show, with backup dancers clad in her signature silver—a look that was both retro-futuristic and unmistakably hers. Dressed in her own OHMNI brand, M.I.A. wore a silver-threaded outfit reportedly designed to protect against satellite, 5G, and radiation waves, a nod to her recent fixation on shielding from “outside interferences.” She took the stage with the kind of palpable, rebellious energy she’s become known for, a blend of fierce artistry and unapologetic individualism.
M.I.A.’s journey from scrappy, grime-spouting British artist to controversial, fiercely political icon was on full display that night. Her set included tracks that spanned her career, from her debut album Arular to newer releases like “Marigold.” However, her mood seemed to lean toward surly as she paced the stage, sometimes cutting songs short and diving into mini rants between tracks. She often veered into political tangents, railing on topics from Trump to cancel culture to the state of the world today, despite her assurance at one point that she would avoid “preaching.”
Up close, I caught glimpses of the small, idiosyncratic details that only add to her layered persona. M.I.A. wore a pair of Olympic-style sharpshooter glasses, complete with a flap over one eye—a bizarre yet somehow fitting accessory. Her outfit of semi-transparent coveralls coordinated with her dancers’ silver long-sleeves and wraparound sunglasses, giving them a space-age, early raver-inspired look that felt oddly theatrical. The dancers, all clearly trained in traditional Indian and Bollywood-style choreography, added a visual flair, though at times the routines felt a bit campy, almost veering into parody.
The set felt like a passport through her discography, weaving in iconic tracks like “Bad Girls” alongside newer material. Though there were high points, the show occasionally sputtered as M.I.A. navigated between song and soapbox. As much as I appreciated hearing songs from her Arular days—still my favorite album—the experience left me feeling more perplexed than inspired. M.I.A. seemed less focused on musical storytelling and more on broadcasting her personal grievances, her message often landing as bluntly as her beats.
However, the grand finale was a spectacle worth witnessing. As she closed with “Marigold,” assistants clad in matching androgynous silver outfits (giving them a slight cult-like appearance) began appearing with buckets filled with vibrant orange marigold flowers. They also passed out metallic informational flyers promoting OHMNI, M.I.A.’s clothing brand, which claimed to protect against 5G and invasive satellite waves. As she chanted “We need a marigold (miracle)” over and over, her team tossed handfuls of marigolds into the crowd, creating a striking visual metaphor. It was theatrical, and maybe a bit surreal, but undeniably memorable.
I left the performance feeling conflicted, a bit more puzzled than moved. M.I.A.’s set was less a cohesive musical journey and more of a raw, disjointed manifesto—a mixture of performance art, product pitch, and political sermon. It wasn’t quite the nostalgic thrill I’d expected, but it was certainly one of the most unique and unforgettable moments of the festival, a reminder of M.I.A.’s enduring ability to provoke and challenge, even when the message is delivered through a messy, silver-coated megaphone.
Justice: A Grand Finale of Electrifying Proportions
The festival’s grand finale for me was the highly anticipated set from French electronic duo Justice. Making my way back to the main stage, it was clear I wasn’t alone—Everyone seemed to have emerged from their various corners of the festival, converging for what felt like one giant outdoor dance party. The crowd stretched back to the food vendors on the opposite side of the property, creating a sea of festival-goers whose energy was somehow undiminished, even after two days of dancing in the chilly San Francisco air. The high spirits were contagious as Justice’s dazzling light show cast beams across the venue, turning the entire space into an electrified playground of sound and light.
Known for their sleek, rock-influenced electro sound, Gaspard Augé and Xavier de Rosnay took the stage with a demeanor that was both calculated and effortlessly cool. Their presence felt like a perfect mix of poise and punk as they powered through an hour-long set filled with hits from their extensive catalog. Justice has been crafting club anthems since the mid-2000s, and they proved their legendary status as they spun everything from “Genesis” to deeper cuts with the kind of intensity that had the crowd locked in from the very first beat.
The peak of the set came when they dropped “D.A.N.C.E.,” and the crowd erupted in unison, reciting every word as if it were an anthem. It was a surreal moment—Everywhere you looked, people were singing, jumping, and swaying, transformed into a single, pulsating mass of energy. Justice faced each other at the DJ booth, as if in their own private world, but their connection with the crowd was unmistakable, as each beat seemed to reverberate through everyone, uniting the crowd in a shared euphoria.
Justice’s set was more than just music; it was a fully engrossing experience, an hour of nostalgia mixed with the thrill of the present. As they transitioned from one iconic track to the next, it felt like a journey through the past two decades of electronic music, reminding everyone why they remain one of the genre’s most influential acts. It was the perfect ending to a weekend filled with incredible performances, leaving everyone buzzing and glowing as the festival wrapped up.
A Perfect Close to Festival Season in the Bay Area
Justice’s epic finale was a fitting way to end a festival run with precision and heart, and it capped off the San Francisco Bay Area’s festival season in style. Portola Festival’s intimate campus is designed for those who genuinely love music festivals, especially EDM. Here, it’s all about the music—no sprawling walks, no endless lines. Instead, Portola’s organizers have created an experience that prioritizes dancing, connection, and enjoying favorite artists without the distractions of carnival-style extras. It’s an approach I greatly appreciate; Portola is for those who come to dance and envelop themselves in the music.
With its world-class lineup, compact layout, and a thoughtful emphasis on festival-goer comfort, Portola feels like a breath of fresh air in a crowded festival landscape. It’s a festival that’s clearly committed to putting the audience first, cultivating an environment where music lovers can enjoy each set in comfort and community. I see a long future and great potential ahead for Portola—it’s already a standout event that’s truly getting things right, offering a festival experience that’s as seamless as it is unforgettable.
