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. 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. Spotify | Soundcloud | YouTube | Instagram Hopeton Brown better known as The Scientist and sometimes known as Overton Brown, from Kingston, Jamaica was a protégé of King Tubby (Osbourne Ruddock), one of the originators of dub music. The Scientist burst onto the reggae scene in the early ’70s with a reckless mixing style that seemed to outdo even King Tubby’s wildest extravaganzas. He began his career as an engineer at Tubby’s in the mid '70s. Shortly afterwards, he gained a reputation with a distinctive mixing style. He left King Tubby's studio at the end of the '70s and became the principal engineer for Channel One Studio, giving him the chance to work on a 16-track mixing desk rather than the four tracks at Tubby's. He came to prominence in the early 1980s and produced many albums, his mixes featuring on many releases in the first part of the decade. He mixed several albums featuring the Roots Radics, many based on tracks by Barrington Levy. He also did a lot of work for Linval Thompson and Jah Thomas. In 1982 he left Channel One to work at Tuff Gong studio. He made a series of albums in the early 1980s, with titles themed around Scientist's fictional achievements in fighting Space Invaders, Pac-Men, and Vampires, and winning the World Cup. The music on these albums was played by Roots Radics, his most frequent collaborators. Five of his songs from the album The Scientist Rids the World of the Evil Curse of the Vampires were used as the playlist songs on the K-Jah radio station in the 2001 video game Grand Theft Auto 3. “In the ’70s, I started building sound system audio amplifiers. I would then test the amplifier with test instruments to determine how the amplifier was performing. Everything would look normal, but when I played reggae music through the amplifier, it would over heat and the plates of the KT88 would run red, especially when I played a mix from the great King Tubby’s that had subsonic drum and bass frequencies as well as razor sharp high frequencies I would have to re -bias the KT88 and make other changes in order to accommodate reggae’s wide frequency response and high slew rate needs. I noticed when I played other types of music the amplifier would respond normal. I found that to be strange so I used King Tubby’s mixes as a platform to ensure that the amplifiers would not break down under extreme conditions. I was fascinated by his exclusive style of mixing and unique sound effects. It was the “Roots of Dub” dub album produced by Bunny Lee that became my favourite test album and also inspired me to want to meet him. One day, I was repairing a television for a friend who had worked for King Tubby’s, we needed a transformer and King Tubby’s was the only place who had those particular types of transformers I was so excited to meet this brilliant man and considered myself very lucky to have had this opportunity. After that, it became a regular place for me to buy special made power and output transformers for the amplifiers that I was building. King Tubby’s became impressed with my electronic skills and abilities at such a young age. I told him I wanted to build a mixing console, at first, it sounded like a joke to him we joked about making mixing consoles with moving faders and automation. Years later it became a reality in Neve’s moving faders and SSL’s automation with total recall.” Dosed with an infectious Latin influence and diving into decades of electronica, crunchy sound effects and field recordings, Oakland-based abracadabra shimmies with the charismatic energy of Lizzy Mercier Descloux, dub hits of Prince Jammy, and the idiosyncrasies of Deerhoof. Comprised of core duo Chris Niles & Hannah Skelton, abracadabra offers an unconventional alternative to traditional guitar pop chord progressions as they blend found sounds with danceable motifs. They anchor their signature collage of vintage synthesizers, detuned drums, bird sounds and dub sirens with a funky 5-piece live band (think congas, claves, cowbell, samba whistle, etc). ‘shapes & colors’, their latest full-length out on Manchester, UK label Melodic, has been described as “a mind-expanding experience, well worth the backwards time travel” (The Quietus). “If the fantasy of a King Tubby-produced Tom Tom Club floats your boat, then this infectious debut will surely hit the spot.” (Electronic Sound) and, it “Bristles with contemporary freshness and wonky charm” (Uncut). Their lead single ‘talk talk’ was a hit among the folks at the BBC, making its way onto The 6 Music Playlist. In their four years, abracadabra has shared the stage with acts such as ESG, Remain in Light (Jerry Harrison & Adrian Belew), The Go! Team and Molly Nilsson, and headlined a tour of Europe and the UK. San Francisco/Oakland-based UFO Baby is chasing a sound both familiar and new, each song inching towards an evolving vision. Influences range from Stereolab to Syd Barrett, from Les Rallizes Dénudés to Ennio Morricone. Songs inspired by identity, nonsense, Sun Ra, mental health, and anything in between. UFO Baby invites you to wind down, hop on, and ascend.