That utopian urban version of New York where a beloved, sometimes flawed subway system gets you from point A to B the fastest—even in this ride-share, scooter, and self-driving car world—still exists. This past Sunday, August 16, the same can be said, not necessarily for all San Francisco Muni lines, but at least for the 43 Masonic heading into the Presidio, where the 4th Annual Bliss Fest at the Presidio Theatre Performing Arts Center back lawn was taking place.
Like any typical weekend, the line of cars entering the park from the Golden Gate Bridge side is just obnoxiously long and, more importantly, not moving. Meanwhile, the 43 heading toward the Bliss Festival’s green and cozy confines just drove along like it was an informal Taco Tuesday, carrying a bus halfway filled with a of passengers.
Senior citizens carrying Weiner for Congress signs; younger folks heading to Chrissy Way (a DJ beach party was popping off in the Marina with Sisqó tuneage); middle-aged dudes in their black workout sweats; and young women in bare midriff tops showcasing their tanned belly buttons.
I’m yamming on about this; Muni is a shared space, public transportation, moving all types of folks from one point to another. Together. Remember that idea; the philosophy that comes with November elections, and the “Will BART/Muni survive?” narratives. Cities, not siloed-off ride-share apps, should still move people. All people. Forward.
From the Embarcadero, I got here by bus in just over 35 minutes for $2.85, one way. Whereas Uber rates from downtown were surging around $35, 10 bucks more than the Bliss Fest ticket price, on average. Muni, which at times, unfortunately, will still hit you, proves to be a reliable, or more importantly, affordable service for all. It’s an unbroken societal construct that still works in this country when given the opportunity.
Walking up to the Presidio Theater, one passed by a full day out on the main parade lawn.
Asian grandfathers catching snaps of the fam with a selfie stick, Moms—with more bags than Elsbeth—leading kids up the main lawn… Wannabe sexy teenagers are puffing on that stuff, hoods on, and those Waymo driverless cars are taking laps around the main parade lawn.
People walking their dogs, food trucks earning their rep, kids screaming, and tourists walking with strollers—it’s the full Sunday setup.
There’s a perennial vibe headliner Elliott Peck was able to transmit to the hundred or so lawn attendees, wine sippers, and art enthusiasts as that extra marine layer moved in off the ocean. (The sun disappeared around 5:30 pm.) That blunt-speak frankness of “Good For You I Guess” from her 2021 release Further from The Storm started to move the audience, who had to wait almost 40 minutes in between the switch-out with the always energizing Combo Tezeta.
At least the kiddies had the infallible clowns of Circus Bella to entertain them. But once plainspoken alt-country-blues, R&B, and jazz-adjacent Peck, dressed in cowboy boots and a long, flowing green dress with a lime-green Stratocaster guitar strapped on, started to perform, everyone snapped back into focus. She’s performed at Presidio Theatre on multiple occasions, pledging her support for the cultural arts in numerous ways, and it showed.
Peck dipped and swayed with her guitar, smiling at band members and giving each one intense attention as they played solos that may have been improvised in the moment, conveying joy and delight to the lawn attendees who stayed. It’s no mistake that the Midwest-born, Bay-relocated favorite is one of the most sought-after vocalists on the West Coast; Phil Lesh and Bob Weir knew what was just beginning to be discovered. Peck’s harmonies are hardscrabble and accessible all at once.
So yes, this was a large cool-down following the quick-hitting cumbia arrangements brought forth by Tezeta, the Bay Area’s most inviting and up-and-coming orquesta—with upcoming gigs at Thee Stork Club and SFJAZZ in December—but Peck’s rootsy persona brought this little $25 “gold standard of San Francisco summertime outings” home with no turbulence.
