To request ADA seating: Please send us an email at info@thechapelsf.com or call our box office at (415) 551-5157 and we can assist you. Our ADA area can reach capacity early, so we highly recommend contacting us as soon as possible. Day of show requests may not be able to be accommodated. Dine with us at Curio and receive Expedited Entry into The Chapel! When you kick off your evening with dinner and drinks at Curio, we will check your tickets at your table and you will avoid the line outside. Be sure you tell us you're coming to the show when you make your reservation and upon arrival to the restaurant. Reserve HERE. Website | Spotify | YouTube | Instagram Basia Bulat is a singer-songwriter living in Montreal, Canada. She offers both a distinctive voice and artistry that pulls as much from gospel and soul as it does from classic folk. In addition to her skills as a powerhouse vocalist, Bulat is an accomplished multi-instrumentalist, recording and performing on electric guitar, piano, autoharp, ukulele, bass and charango. Her talent has also been recognized at scale: her songs have been adapted for major performances with symphony orchestras, and she has been invited to perform at prestigious tributes to Leonard Cohen, Daniel Lanois, Nick Cave, and The Band. Since releasing her debut in 2007, she has shared the stage with artists like St Vincent, Sufjan Stevens, Nick Cave and the Bad Seeds, The National, Michael Kiwanuka, Daniel Lanois, Beirut, Destroyer, US Girls, Jim James and more. She’s been featured on NPR’s Tiny Desk Concerts, performed on the Late Show with Stephen Colbert and Later with Jools Holland, and received support from The Needle Drop, The New York Times and more. Bulat is a three-time Polaris Music Prize finalist and has been nominated for five JUNO Awards. Her first two albums, the folk-music-tinted Oh, My Darling and Heart of my Own were recorded in analogue with punk-rock producer Howard Bilerman; Tall Tall Shadow, exploring friendship and grief, was made with Mark Lawson; Good Advice—a break-up album—and Are You in Love? were produced in Kentucky and Joshua Tree (respectively) with My Morning Jacket frontman Jim James. Basia’s last album The Garden, reimagining 16 of her catalogue songs through string arrangements by Owen Pallett, Paul Frith, and Zou Zou Robidoux, was a critical success. Her evolving discography showcases a remarkable versatility, solidifying her place as a singular voice in contemporary music. Her new album Basia’s Palace, mixed by Tucker Martine (Beth Orton, The National, Neko Case), and with string arrangements by Grammy-nominated composer Drew Jurecka (Dua Lipa, Metric, Alvvays), was released on February 21, 2025. From the first moments of Maia Friedman's upcoming album Goodbye Long Winter Shadow, layers of strings, woodwinds, acoustic guitar and Maia's warm anchoring voice blossom as if to say “you are here.” The lush arrangements and sage lyricism are an enveloping statement of intent. They carry the devotion to nature Friedman fostered growing up in California’s Sierra Nevada with a new mother’s exploration of time and transformation. Friedman spent months developing the language of the album, pursuing the music she envisioned with characteristic patience. Produced with Philip Weinrobe (Adrianne Lenker, Florist) and Oliver Hill (Magdalena Bay, Helado Negro), the result is chamber pop abounding with melodic intimacy, a world where instruments bob and weave around the heart-stopping clarity of Friedman’s voice. Though 2022’s acclaimed debut Under the New Light was the first album under her name, the California-born, New York-based singer, songwriter and multi-instrumentalist has honed her sound for years as a member of both Dirty Projectors and Coco, the shared project of Friedman, Hill and Dan Molad. Where her debut was built from collaborative improvisation, Goodbye Long Winter Shadow is a collection of songs in the classic sense. Intimate instrumentals punctuate its running time and emphasize the sonic palette of the orchestral arrangements. Friedman’s lyricism and writing here is timeless, tightly composed and interspersed with surprising harmonic turns. If not for the heightened quality of its recording by Weinrobe, it might have been made decades ago; it’s Nico’s Chelsea Girl for today.