To request ADA seating: Please send us an email at boxoffice@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. Website | bandcamp | Spotify | Instagram Paul Cherry’s songs might seem playful at first—rich with eccentricity and subtle, surprising details. But beneath it all lies a sense of clarity: confessions that feel instantly relatable. After playing for years developing his mid-fi jazz-pop sound in Chicago’s garage and bar scenes, Paul moved to Los Angeles in 2021, where the city’s sunshine and proximity to pop heavy hitters diverted his interests toward a more varied fusion of genres. His forthcoming full-length album Nature’s Candy will arrive in Fall 2025. Here, Cherry favors the eclectic, sharp, and melodic, supporting pensive, associative poetics with nostalgic instrumentation inspired by touchstones of 2010s indie rock and an exploration into dub. Heaven’s Club is the collaboration between Shiv Mehra (Deafheaven) and Chris Natividad (Marbled Eye), blending introspective lyrics with expansive, ethereal sonics. Their sound balances emotional urgency with distant atmosphere. Their latest release, Free World, is a blistering 3-song cassette that paints a surreal portrait of our fractured world. It explores the contradictions of modern freedom, where autonomy often comes at others’ expense, and the pursuit of wealth leads to devastation. Through disillusionment and sonic experimentation, Free World captures the tension between liberty and systemic inequality, set against an existential backdrop. The opening track, “Destroyer,” merges post-punk urgency with krautrock rhythms and psychedelia. Hypnotic motorik beats and swirling guitars create a driving, disorienting atmosphere of tension and release, with angular bass lines and rhythmic precision. The title track, “Free World,” blends shoegaze dreaminess with Beatles style melodies. Shimmering guitars and melancholic vocals convey the illusion of freedom against harsh inequality, embodied in the refrain: “Free world is not so free to me, peace is not enough.” It expresses a longing for systemic change and equal rights. The second track, “d(us)t,” is an instrumental whirl of synths and soundscapes, driven by a Spacemen 3-style bass line and Dan Tracy’s propulsive drumming. Its krautrock-inspired soundscape creates a cavernous, contemplative atmosphere reflecting themes of disillusionment and longing. Following the introspective All That Was EP (2021) and their 2019 album Here, There and Nowhere, Free World marks a bold evolution for the band, both sonically and thematically. Their move to Born Losers Records signals a new chapter–offering a raw critique of modern societal structures and a call for equal rights and systemic change. Heaven’s Club continues to defy genre boundaries, merging nostalgia, protest, and urgency into an unforgettable sonic experience. Jack Erin Brown is a multi-instrumentalist, producer, and longtime record store fixture based in San Francisco, CA. His debut album Door 154 is a genre-blurring instrumental collage shaped by years of crate digging and a deep love for krautrock, jazz, psychedelic, and library music. Recorded between his home studio and Santo Studios in Oakland, the record showcases Brown’s signature approach: gritty samples woven with live instrumentation, all played and produced by hand. Part beat tape, part spiritual transmission, Door 154 is a personal vision of genreless, cinematic sound rooted in deep listening and lifelong curiosity.