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. $35 Advance / $40 Day Of Show Website | Spotify | YouTube | Instagram Temples’ name has become synonymous with a band with an adventurous spirit; constantly exploring new ideas. On their fifth album, Bliss, they shake up the perception of the Kettering-formed four-piece with a record that ventures into electronic territory while staying true to their core DNA. Euphoric and melancholic melodies of late ‘90s dance music blend with psych-tinged riffs and loops to create something fresh. After the 2023 release of Exotico felt overlooked, the band - James Bagshaw (vocals/guitar), Thomas Walmsley (bass), Adam Smith (keyboards/guitar), and Rens Ottink (drums) - hit a creative standstill. “There’s so much more to us as a band and as a group of people,” says Walmsley. “We’re completely reconnecting with why we started and who we’re making the music for - which is ourselves. ”Reinvigorated, Temples signed with V2 Records and returned to working together in person. Unlike Exotico, Bliss was produced entirely by the band. Bagshaw explains: “It was very freeing. It felt like you could just improvise.” The album features self-sampling, creating a shared palette of sounds that could be lifted, reversed, or reimagined across tracks - “building up audio Pantones,” as Bagshaw puts it. Sonically, Bliss reinterprets dance music in Temples’ style. Lead single Jet Stream Heart captures the thrill of being drawn into music, while Vendetta merges scuzzy riffs with lasering synths and dance melodies. Blue Flame, drawn from a chorus Smith had in his pocket for some years, explores disconnection with a slower, icier sound. Revelations nods to Gregorian chants, blending spiritual and matter-of-fact elements. Megalith tackles frustrations, surrender, and the fear of being stuck amidst a moving world. Though the band missed the late ‘90s rave culture firsthand, Bliss channels that era’s bittersweet euphoria, drawing inspiration from Faithless, Underworld, Prodigy, Air, Röyksopp, Moby, Massive Attack, Orbital, Portishead, and more. Psych and dance share a natural lineage, with repetition, loops, and trance-like states forming the album’s foundation. For Temples, Bliss represents creative freedom and a shared sense of joy in making music. “We’ve just done exactly what we want to do in a purely selfish way, and that becomes not selfish when people connect with it,” says Bagshaw. Forward-looking yet aware of its roots, the album is unmistakably Temples: “People should throw out whatever they thought we were–this is what we are.” Poppy Jean Crawford is a musician from Los Angeles, California. At 16, she dropped out of high school to work on her first recordings with legendary producer Ross Robinson (Korn, Slipknot, Limp Bizkit) in Venice Beach, California, alongside a supergroup of musicians – Justin Pearson (The Locust), Michael Craine (Retox), and Dave Lombardo (Slayer). These recordings were shelved for many years. During the intervening period, Poppy released four singles and three EPs, including the "JEANJEANIE” E.P. (2020), released on Danger Mouse’s label, 30th Century Records and ‘The Takeover’ E.P. (2023) made in collaboration with producer James Dring (Blur, Gorillaz, Lana Del Rey). She has also toured with a variety of bands including Placebo, The Black Lips, Starcrawler, L.A. Witch, Blood Red Shoes, and The Brian Jonestown Massacre. After years of dedication and hard work, Poppy Jean Crawford is set to finally release those first recordings on Angel Olsen’s new label imprint somethingscosmic.