I wasn’t sure what to expect from my first time at Portola — a parking lot turned festival ground on San Francisco’s waterfront. I’ve done Coachella, Outside Lands, and many others, so I figured this would be less walking with such a smaller area to work with. Wrong. Somehow, I walked even more.

I was one of the first through the gates Saturday because I had to pick up my pass. First stop: the ID check to confirm I was 21 or older — a big change from other festivals I’ve been to that welcome all ages. Then came security. At exactly 1 p.m., just as we were waiting for the go-ahead to walk in, the port’s ships blared their horns. To me, that was the signal: It was officially time for Portola to begin.

The setup was unlike any festival I’ve been to. It had a stripped-down, underground feel despite being a Goldenvoice production. Food trucks lined the lot, vendors set up shop between stages, and the massive warehouse space thumped with music all day long.

Dancing on a concrete floor almost made it feel like a county fair — if a county fair had world-class performers and LED walls.

This wasn’t Coachella or Stagecoach — this was something uniquely San Francisco.

The Outfits & the Crowd

From casual jeans and hoodies to people wearing almost nothing, Portola was a full fashion spectrum.

I saw Loraxes, garden gnomes, Teletubbies — you name it, someone was dressed as it. And everywhere you turned, someone had a raccoon backpack with glowing green eyes.

When I finally asked one festivalgoer why the raccoon, the answer was simple and perfect: “We are feral.”

And yes, wear comfortable shoes. I clocked about 10 miles each day — on a stretch of land where that much walking shouldn’t even be possible.

The Music That Literally Brought the Heat

Christina Aguilera was a personal highlight and a full-blown nostalgia trip. I was there for two songs — “Genie in a Bottle” and “Lady Marmalade” — and she delivered every note.

With flames shooting from the stage, the crowd pulsing with energy, and me and my friends screaming the lyrics (not singing, screaming), it was everything I hoped for. The kind of moment that makes your voice go hoarse but leaves you grinning for hours.

And if that wasn’t enough, she was introduced by San Francisco Mayor Daniel Lurie, hyping her up like she was the city’s own superstar.

It set the tone for a stage that was absolutely ready to blow the roof off — or at least make the concrete floor feel like it could.

Dom Dolla was another standout. His set was pure energy — from the fire effects to the crowd chants. When he played “San Frandisco” (“San Francisco, where’s your disco?”), the whole place erupted. And because it was September 21, he pulled the ultimate move and played Earth, Wind & Fire’s “September.”

It felt like a collective inside joke that the entire crowd was in on.

Then there were Haute & Freddy — absolute characters. They’ve been described as “jesters,” and that’s exactly the energy they brought.

I met them in the media area, where they hugged everyone, joked around, and made us all feel like we were friends hanging out, not just media covering their set.

The Vendors Who Pulled It All Together

One of my favorite stops was BeatBox, the boozy party punch that seems to pop up at more and more festivals. Their rep, “Iconic Frank,” made the booth feel less like a brand activation and more like friends having fun.

He told me he loves working there because everyone is so close — so close, in fact, that he can tell which member of the design team created each can design.

When I later checked my bank account and saw how much I had spent on BeatBox, that story at least made me feel better about it.

What I really loved was how the BeatBox booth turned into my festival hangout spot.

Every time I passed by, I’d check in with them and chat about our favorite sets so far — they genuinely started to feel like friends. I even met a few of their most loyal customers, who told me BeatBox is their go-to festival drink and that they make it a mission to stop at every booth they can find.

Learning that they’re a down-to-earth company run by friends, and seeing how passionate their fanbase is, left me genuinely excited to see what they do next.

Another vendor that left a lasting impression was Farmhouse Kitchen, a Thai cuisine restaurant that prides itself on bold flavors — and they meant it.

Their head chef, Kasem Saengsawang, a Food Network Chopped champion, sat down with me to talk about their menu.

I’d reached out to them before the festival because I remembered seeing Saengsawang on Chopped and wanted a fan moment.

What I got was more than that: Their team veganized their menu for me, creating a beautiful tasting experience that felt thoughtful and personal (which was their vibe).

From their perfectly grilled tofu burger to the mochi stuffed with fresh strawberries, from the comforting bowls of ramen to their “energizing” drinks, I could have happily spent the entire weekend at their pop up.

And those shishito peppers they served? I’d drive from anywhere in California just to taste them again.

They were some of the kindest humans I met all weekend. My tasting column will come out soon to show everything I tried and how Farmhouse Kitchen is worth the stop.

And then there was Sandy’s, a New Orleans–inspired spot that served brown butter cookies and what I was told were some of the best corn dogs around. I couldn’t try them due to my dietary restrictions, but owner Peterson Harter assured me they were to die for.

He told me about starting Sandy’s during COVID as a pop-up out of an apartment window, hustling around the city until they found a permanent home. Even in the middle of a loud, crowded festival, they created a warm, welcoming space for people to hang out — and that’s exactly what they’re known for.

Accessibility & Layout

Accessibility was one of Portola’s best surprises. It was extremely easy to move around the grounds, which isn’t always the case at big festivals.

From the opening gates to the end of the pier, most was in sight — which made it easy to pick out landmarks, especially once my phone started dying each day.

I do wish the stages had clearer signs so it was easier to know where we were heading, but for those using accessibility areas, everyone I spoke with said their experience was smooth and enjoyable.

One part of the festival that really got to me was the trash left behind after sets. I get it, everyone was caught up in the music and the vibes, but seeing heaps of garbage scattered across the grounds was hard to stomach.

Thousands of pieces of trash, from cups to wrappers, were tossed aside. This isn’t a knock on Portola, it’s on us, the festivalgoers. No matter the event, we need to respect the space we’re in and clean up after ourselves.

My Final Steps

Portola wasn’t glossy or overly curated like other festivals — and that’s exactly why I loved it.

It felt like a concrete playground, a little chaotic and a lot of fun.

I went in unsure of what to expect, and I left with a hoarse voice, sore feet, and a whole new appreciation for what San Francisco does best: creating moments that feel like they could only happen there.

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