Order Holiday Takeout from These 27 San Diego Restaurants

It’s never taken so much green to eat red meat. The price of beef has doubled since 2020, and once you add a few drinks (the cost of wine rose 11 percent in 2025) and tack on the rising price of labor (up 23 percent in 2025 and 33 percent in 2024 and 2023), before you know it, a night out at the steakhouse costs as much as the monthly payment for a brand-new Mercedes G-Wagon.

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At Grandson Steaks, Roger Cañez wants to change that. He only serves USDA Prime and Choice Brandt Beef from the family-owned ranch in the Imperial Valley, known for its high-quality, hormone-free, vegetarian-raised Holstein cattle with signature marbling and top-notch taste. But as the Brandt Beef distributor in Mexico, Cañez gets wholesale volume pricing that other smaller restaurateurs can’t access. 

Those savings get passed to the consumer: At Grandson, a 12-oz. house-cut (Choice) ribeye costs $34, while Prime goes up to $44. Comparatively, a 14-oz. Prime ribeye at a competing high-end local steakhouse runs around $66.

“There are a lot of people in San Diego who really love steaks, but they can’t afford it—that’s reality,” says Cañez. “So we decided to kind of cut all the fine dining rules and put everything into the quality.”

Cañez has tried the “steak-for-less” model before. He opened Brasa Norte in Market on 8th in National City, offering plates like a Tomahawk steak with bone marrow, four quesadillas, and a side of beans for $44.99. He also operates Roger’s Mariscos inside the market, and he brought some of those stall’s best sellers (like the Baja shrimp cocktail and yellowfin tuna tostada) to Grandson Steaks for a surf n’ turf menu plus tacos, salads, and desserts meant for the family-friendly Liberty Station crowd.

It’s the second concept for the fully built-out corner suite, which formerly housed the ambitious California deli concept Wildflour Delicatessen from chef Phillip Esteban, the mastermind behind White Rice and Base Kamp Meals. Not much changed design-wise, other than adding some more booths, moodier lighting, and a couple of guitars for that modern Mexican flair. Most of the 130 seats are outside (98, to be precise), with 20 seats inside and an additional 12 at the bar. 

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But after you choose where to sit, you’ll be able to also choose how much to spend. “If you want to have a casual afternoon with tacos and margaritas, or if you want to have a full steakhouse [experience] with bottles of wine, we can do both,” says Cañez. 

Grandson Steaks is now open at 2690 Historic Decatur Road, Suite 102. Hours are Tuesday through Thursday, 11:30 a.m. to 9 p.m.; Friday through Saturday, 11:30 a.m. to 10 p.m.; and Sunday, 11 a.m. to 9 p.m. (closed Monday).

San Diego Restaurant News & Food Events

Beth’s Bites

• At the rate all the “Taste Of” festivals are proliferating, we’re going to have an event for every block in the county by 2035. (This is not a complaint!) The next one is coming up fast on Thursday, May 7, when the 16th annual Taste of Cardiff hits S. Coast Highway 101 from 5:30 to 8:30 p.m. And yes, before you ask, I’m sure there will be plenty of Cardiff Crack to chow down on from one of the 60+ vendors. Be sure to come hungry, though, because the food and beverage list is mega-stacked with goodies. Pro tip: This “Taste Of” is always especially hard to find parking, so I strongly recommend riding the Coaster in or grabbing a rideshare.
• I’ve watched the movie Crazy Rich Asians a dozen times, but I’ve never tried my hand at mahjong (yet). But now that Zen Modern Asian Bistro is introducing a weekly Friday night mahjong game from 9 p.m. to midnight, it might be time for me to finally give the tile game a go. 

Listen Now: The Latest in San Diego’s Food and Drink Scene

Have breaking news, exciting scoops, or great stories about new San Diego restaurants or the city’s food scene? Send your pitches to [email protected].

There’s a certain strangely yellow-tinted lightbulb in a certain bathroom in a certain bar on Main Street in Richmond, Virginia that I used to frequent when I was in college. (IYKYK) To locals, we knew that if you wanted to look super hot, or at least feel super hot, it was the lightbulb-mirror combo worth waiting in line for. That tiny one-stall room became the perfect place for selfies, surreptitious makeout sessions—pretty much anything but actually going to the bathroom.

Color theory is science, not magic. Yellow light is less harsh on the eyes than white or blue, and can promote a feeling of relaxation and happiness. A little color can go a long way to change a mood—and that’s exactly what visual artist Ben Guerrette hopes to accomplish when he drenches Chapel at Liberty Station with an immersive light installation synchronized to pair with chef Flor Franco’s four-course menu exploring the four elements of earth, fire, air, and water from March 20 through 22 for the latest An Artist @ the Table dinner series. 

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The series is part of local nonprofit Vanguard Culture’s 10th anniversary programming, marking a decade of advancing San Diego’s creative industries through professional development opportunities, events, collaborations, and other resources. Executive director Susanna Peredo Swap says previous An Artist @ the Table dinner series have featured artwork from a variety of artists ranging from the estate of Jean-Michel Basquiat to British fashion icon Zandra Rhodes, and chefs like Ron Oliver (former chef de cuisine of Marine Room) and Carlos SanMartano (Salt & Cleaver, Herb & Wood).

“[But] this is the first time that we’ve done something so large-scale and so immersive,” she says. Over three nights with room for 30 guests each night, each dinner begins with an hour-long silent auction to raise money for Vanguard Culture’s nonprofit support of the local arts, after which Swap will introduce Guerrette, Franco, and explain the run of the show. “Then the experience will happen, which is about a three-to-five minute immersive sound and light experience, and then the food will come out, and then we’ll repeat that three more times after that,” Swap says, at which point the space will open for time for guests to unwind and absorb the experience. 

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That time to unwind with one another, she stresses, is crucial. “I think that’s part of why the arts—and the culinary arts in particular—are so important now. It’s that ability to just remember our humanity and come back to the joy of living, the joy of this moment, the joy of art, the joy of sound, the joy of food, the joy of gathering,” says Swap. “And so even though big things are happening, we get to kind of disconnect for just one moment and sit together in community and find joy and share together.”

During the conversation with Franco, Swap, Guerrette, and myself, I wondered: If eating together is an inherently communal act, but emotional reaction to art is a personal experience, how do the two coexist?

Franco believes they go hand-in-hand. “I think in this particular dinner, people are going to take home both the experience of community, but also it’s going to be very personal for every single one,” she says. She could be watching a play with friends and find herself crying, but the person sitting next to her will be dry-eyed. “The senses are different for each person.”

The meal itself, inspired by the four elements, will remain a surprise for the guests, but Franco did provide a few hints of the framework. “There will be plenty of seafood, you know, for the water part,” she promises, as well as a red meat entree for land and a few other tricks up her sleeve. But to coincide with the artistic vision, “the plating is going to have to do a lot,” she says. Despite her long experience as a chef in Baja California and San Diego (as well as the first female chef inducted to the prestigious gastronomic society Disciples Escoffier International in 2018), it’s her first time working in tandem with light design. 

For Guerrette, he hopes people leave both feeling moved and inspired. “I’m hoping that this becomes something that maybe inspires more people, other artists to maybe make big, grandiose ideas like this,” he says. “If you have big ideas, go for it.” (Pro tip: be sure to turn on some blue or green light to help boost your creative process. Like I said, it’s science.)

Tickets to An Artist @ the Table with artist Ben Guerrette and chef Flor Franco on March 20 through 22 are now available.

Listen Now: The Latest in San Diego’s Food and Drink Scene

Have breaking news, exciting scoops, or great stories about new San Diego restaurants or the city’s food scene? Send your pitches to [email protected].

For two-and-a-half years, one of California’s most promising culinary talents has remained surprisingly off-the-radar, working as executive chef in a uniquely named restaurant tucked inside a Serra Mesa office building. He hasn’t gone completely unnoticed though—food critic Troy Johnson calls BoujieMana a “hidden gem with an all-star team.” And that team? Led by said promising chef, Dante Cecchini.

A San Francisco transplant with a resume as long as a CVS receipt and as star-studded at the Andromeda Galaxy, first cut his teeth under chef Elizabeth Falkner at the Bay Area pastry shop Citizen Cake before moving to Big Night Restaurant Group, where he rose through the ranks to become chef de cuisine at places like Marlowe, Park Tavern, and The Cavalier under the tutelage of restaurateurs Anna Weinberg and chef Jennifer Puccio.

He also worked at Morris with chef Gavin Schmidt (from the three Michelin-starred Coi), cooked at the James Beard House twice, was named a Rising Star Chef by the San Francisco Chronicle, and one of Zagat’s “30 Under 30,” among his other accolades. So it’s surprising that he hasn’t had the chance to make a bigger impression in San Diego yet. 

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But he’s ready to do so as the new executive chef at Communion. 

Opened in 2024, the Mission Hills restaurants offers a sky-high view from its top floor perch of The Sasan building at the corner of Washington and Goldfinch Streets. Guests enter through Paradis, the ground floor cafe on the way to the elevator, where a sanctuary-meets-sensuality vibe and strong cocktail program have gleaned generally positive reviews over the past year-and-a-half. But Cecchini wants to bring an infusion of new ideas to the kitchen. 

Not too many all at once though, he says. To ensure loyal regulars will get the chance to get used to his approach to fine dining, he’s phasing out former chef Mike Moritz’s menu in stages, but says by the end of February the transition will be complete. 

He’ll keep the tasting menu in some form or another, but at the very least expect twists on some of Communion’s signature dishes, like the za’atar-crusted lamb lollipops and the Spanish octopus. “[They’re] still going to be really approachable. It’s just going to be super flavorful, very colorful, but super seasonal,” he says.

Emphasizing seasonality much more will be a major part of Cecchini’s ethos at Communion. “You’ll never see strawberries on the menu in winter,” he promises. Tomatoes in February? Not on his watch. But there will more attention to plating presentation and dry-aging proteins like fish and duck. He’ll also incorporate some of his Italian heritage and training into the menu, like introducing Sardinian dumplings and using ingredients like bottarga, a salt-cured piece of roe that’s either grated or thinly sliced (like Parmesan) with an intense umami profile.

With Cecchini’s years of level experience, expectations are as high as Communion’s rooftop location. He has three words: bring it on. 

“I want to invite everyone in for them to experience what’s different. I promise that everything that they come in and eat will be great,” he says. “I know that’s a big thing to say, but I’m feeling very confident.”

Communion is located at 901 W. Washington Street in Mission Hills.

Well, damn. Vulture and Dreamboat are calling it a day.

Partners Kory Stetina and CH Projects have announced what feels like a too-soon curtain call for their plant-based odyssey in University Heights. Dreamboat, arguably the best name of a restaurant in decades, is the tiny, white, ’50s-style diner up front, and through a hallway and a velvet curtain is Vulture—a moody, stately continental restaurant with gothic-O’Keeffe wallpaper and giant plaster busts of indeterminate renaissance heroes.

The team is inviting guests in to fête the last three weeks of service, and the restaurants will shutter February 8.

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“Right now, what matters most is taking care of our people and closing this chapter with integrity,” Stetina says. “These final weeks are important to us, and we want the final chapter of Vulture and Dreamboat to feel really celebratory. We are intensely proud of what was built here and deeply grateful to the teams and community who brought these spaces to life, especially our extraordinary crew.”

Vulture was Stetina and CH’s biggest plant-based swing yet. The ambition was driven at least partially by the success of their previous two collaborations: Kindred (SDM’s “Best Vegetarian” many years running) and the alien cantina Mothership (named one of Esquire’s “Best Bars in America”).

It was the first high-end, fully plant-based restaurant in the city. Both were nominated for an Orchid design award by the San Diego Architectural Foundation, and Vulture was nominated by VegNews as the best new vegan restaurant in the country (Dreamboat got the nomination for the best vegan diner). Vulture’s potato pave was incredible; so were the martinis and the French onion soup. It had the group’s trademark magic and felt like a Cowboy Star or Albie’s Beef Inn for the cellulose crowd. 

By most restaurant operators’ metrics, the crowds both spots were drawing would have been considered a major success. But most operators don’t build restaurants like Stetina and CH do; they obsess over design, turning blank buildings into art projects. That costs quite a bit more, demanding more martinis and tableside Ceasar salads be sold.

“We had very strong support and real momentum,” Stetina says. “High opening and operating costs, combined with the economic realities of today, ultimately made it unsustainable.”

The dream also took too long to manifest: They took ownership of the building (and its accompanying bills) before the pandemic. In the long stretch from there to opening last spring (five years), the industry shifted in massive structural ways. Food costs are up. Labor costs are up. Mortgage costs are up. Drinking is down (the bar has historically floated most ambitious restaurants—and a less boozy generation and Ozempic are really sinking bar tabs).

Even plant-based food, which has been rising for decades and still is (it’s currently worth around $8 billion in the US and projected to be $19 to $30 billion by 2030) has ceded a bit of the moment to the animal-protein mania and “eat like a predator” diet-sabre rattling.

“The project took years to bring to life, and during that time the climate of our industry changed underneath our feet,” Stetina says. “Decisions that felt ambitious but workable when we committed to them ultimately revealed themselves to be far more leveraged and risky than we had counted on.”

Stetina’s one of the more respected, likable operators who gives a damn about his people. With each project, he’s emphasized the party of plant-based culture and avoided the polemic of it. It’s not a small loss for him. This one hurts—for him and his team. But he has the healthy and incredibly hard perspective needed when a big dream doesn’t quite get there.

“I called friends of mine who own multiple restaurants and they said, ‘Welcome to the club–the first one hurts.’ But this is part of it,” he says. “Kindred will be celebrating its 10th year throughout 2026, and we have a lot planned there for the year ahead. Some of what we loved most about the Vulture and Dreamboat magic will also likely carry forward into Kindred in ways that feel thoughtful and true to its spirit.”

He urges everyone to come in for the last few weeks of Vulture and Dreamboat, party it up, and use any gift cards (needless to say, they can’t be redeemed after close).

For more than 80 years, the North Chapel has been one of Liberty Station’s defining silhouettes. Opened in 1942, the multi-faith chapel  has hosted Navy services, weddings, memorials, and countless community milestones during wartime years. Its story stretches from religious services for military men and women to cultural anchor.

Then came a stalemate. In 2018, a new tenant, 828 Events, proposed a modernization of the building’s interior, sparking fierce pushback from preservationists and neighbors. The San Diego Union Tribune reported that the online leasing opportunity boasted the chapel would be “perfect for a restaurant or retail tenant.” The suggestion that the historic chapel may become a restaurant caused uproar from local community members. According to Congressman Scott Peters’ official website, his office requested an investigation by the City Attorney. The plan was halted, but what remained was a structure in limbo. 

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In the years following, Liberty Station reshaped itself; breweries opened, restaurants buzzed with crowds, and gelato melted on children’s hands in sunny courtyards. The chapel remained unopened in a district otherwise reborn—until now, when Snake Oil Venue Company became its new stewards.

If you’re wondering why a company known for cocktails is reopening a historic chapel, the answer is simple: they’re no longer just a cocktail company. In 2019, after a decade crafting cocktails, Snake Oil launched its first venue, Julep, and pivoted into full-service events. Growth snowballed from there. This April, it opened Bramble Bay in Imperial Beach, followed quickly by Vesper at Liberty Station. In just one year, its footprint jumped from 32,000 square feet of event space to more than half a million.

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But, even as experienced venue operators, the chapel was a unique endeavor. “This wasn’t acquisition; it was responsibility,” says Snake Oil’s CEO Michael Esposito.

The first time he walked inside, the neglect was unmistakable. “Here was a sacred San Diego landmark sitting quietly in a deteriorated state,” he recalls. Curtains were stained, corners layered with dust, and the once-ornate woodwork was overshadowed by a red carpet that “smelled like damp newspapers.” 

The chapel had sat unoccupied since 2019, according to Joe Haeussler, executive vice president of Pendulum Properties Partners, which acquired the leasehold to the chapel and several other Liberty Station properties in 2018. After considering several proposals for the dormant space, Pendulum brought Snake Oil on in 2023 to reopen and steward the building. “We felt their plans were the most respectful of the historic asset and would open the building to the public in the right way,” Haeussler explained.

Rather than impose a new vision, Snake Oil chose preservation. While it’s now an events space, it has retained its original intent as a gathering place for the community. Restoration, in this case, meant listening to the building. When the team began pulling up the carpeting, they uncovered exquisite, period-specific 1940s Douglas Fir flooring. They refinished the planks rather than replace them, breathing life back into the chapel’s historic foundation. Even the stained glass windows, which were not part of the original Navy design, remained. The earlier plans featured frosted panes that brought in soft, controlled daylight, but the stained glass had become part of the chapel’s collective memory. The restoration cost nearly $1.2 million.

Beyond sentiment and preservation, the North Chapel’s renewed functionality includes a main hall which offers 4,000 square feet of flexible space and seats roughly 425 guests, with additional pew seating on a mezzanine. An adjacent side chapel adds another 600 square feet for more intimate gatherings. Outside, three connected exterior zones (over 3,000 square feet total) provide ample room for receptions, cocktail hours, or garden-style events.The venue will have a preferred-vendor list, with some flexibility for outside vendors. Beverage and cocktail service is handled exclusively by Snake Oil Cocktail Company.

Christopher Bittner at OBr Architecture, Tim Wright of Wright Management, and Andre Childers with Pacific Building Group Construction led the improvement process, while Melissa Strukel of We are Human Kind designed the interiors and furnishings. Bittner says the project was shaped less by reinvention than by attention to what was already there.

“The building itself was the inspiration,” he says. Rather than dramatic alteration, the work focused on careful adjustment. “The building needed small, yet thoughtful, modifications to allow the building to be used for the new use. We worked through many options for how the building would function and at each stage thought through the potential historical ramifications.” 

As word spread of the restoration, the stories came streaming in, carried by people whose most meaningful life moments unfolded within its walls. “For some, it was a grandfather who found a moment of resolve here before leaving to serve in World War II,” says Esposito. “For others, a bride who walked down the aisle as a young woman, or the loved one of a first responder whose life was honored within these walls.” The stories varied, but the sentiment was shared: the chapel’s legacy matters.