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.
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Nick Waterhouse is a legend in the making, an American guitarist-singer-songwriter who can be found on stages all over the world when he's not in the (analog) studio. Since breaking out with his raw, finger-snapping R&B-infused debut Time's All Gone, he has continued to purvey, with great fervor, a distinctive blend of rhythm and blues, swing, soul, and rock 'n' roll. His music takes you on a trip into an Imagist American city; A convertible-view looking into the California sky under swaying Palms; Avenues and alleyways unfold like movie backlots; A walk down a low-slung brick alley suddenly Memphis or Detroit reveals a rusty old side door, it opens into the shadows of a smoke-filled Manhattan after-hours lounge... and the band plays all through the night..
Existing some place between Link Wray, Bobby Darin, and Little Willie John, and exhibiting a body of work that positions him as spiritual son of forebearers of the American school of Lynch, Waits, or even John Fogarty, he is less a revivalist than a practitioner of Rhythm as modern art.
Whether it's the raw piano pounding doo-wop of "Katchi" (Never Twice, 2016), the swamp-garage blitz of "Song For Winners"(Nick Waterhouse, 2018) , or the dreamy mambo of "Hide and Seek" (The Fooler, 2023) , there is an unifying force at the heart of all of his work -- Live and on disk, his songs embody the condensed intensity of a golden-era 45 RPM record bridging the electric current of the present.
At a Waterhouse concert one finds all of the "Waterhouse Orchestra's" trademarks - hip-driving drums, tinkling pianos, gospel-soul backing vocals, film noirish saxophone solos, and a swaying, sweaty crowd, transported elsewhere. Waterhouse continues to captivate audiences with his timeless yet fresh approach to music, effortlessly bridging the past and present and, in his own way, making history for the future.
