Wavves, Harmless

Thu Nov 11 2021

8:30 PM (Doors 7:30 PM)

August Hall

420 Mason St San Francisco, CA 94102

$25.00

All Ages

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Proof of full vaccination is required to enter the venue. An individual is considered fully vaccinated at least two weeks after receiving a second dose of the Pfizer or Moderna COVID-19 vaccine, or two weeks after receiving the single dose Johnson & Johnson’s Janssen COVID-19 vaccine.

Acceptable forms of vaccination proof are the CA vaccine QR code, your physical vaccination card or a clear picture of your vaccination card.  Please also be prepared to present a government-issued ID along with your proof of vaccination to match. 

A negative test will not be accepted for entry into the venue, only proof of full vaccination.

August Hall Presents
Wavves, Harmless

  • Wavves

    Wavves

    Surf Rock

    A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become
    Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he
    made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the
    world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies,
    and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting
    creativity. It came as a result of a series of major life changes.
    A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky
    collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat
    Possum into the major label system, where he released two albums before becoming disillusioned by the lack of
    creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now,
    Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming
    sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward
    the Bart Simpson [character],” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he
    doesn’t have some commentary, and once in awhile, it’s totally spot on.”
    Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of
    the world around you and realize that no one is going to save you but yourself, and even that might be a tall order.
    The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams
    sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and
    proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real
    peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a
    skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s
    this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he
    is.
    After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with
    bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions,
    before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.
    Williams and Sitek bonded while geeking out over music for hours every day. Sitek would pull up Johnny Cash deep
    cuts and honky tonk obscurities—songs that sonically don’t have much in common with the music Williams makes,
    but plumb the same emotional depths of the soul. It was a clarifying moment for Williams, who wasn’t quite sure what
    direction he wanted to take the songs he’d been working on. “We’d listen to old music and not get much done, but it
    was really important in the end,” he says. You can hear the result of these sessions on career high points like “The
    Blame,” which takes its cues from the Replacements’ best moments, but doubles down on a sort of yearning
    sadness. It’s full of hard earned wisdom and melancholy, and it sounds like nothing else Williams has ever done.
    Meanwhile, on the album’s title track, Williams incisively cuts through the pitfalls of empty self-affirmations, his voice
    straining against lyrics like “I’ll do my best to hideaway, from all of the bullshit chasing me, I don’t care if time’s
    erasing me, it’s been torture existing this long” In the hands of a less direct performer, it’d be easy to hear this as self-
    pity, but Williams’ embrace of that hopelessness shines through and becomes something else entirely: an embrace
    of the comfort that is right in front of him, of making his world small because he need to. Of changing—or not
    changing—what’s around him because it’s what he has the power to do. “I don’t have it in me to say that things are
    so much better,” Williams says. “It’s just not my story. It’s good if it’s someone else’s story, but I’ve also learned to
    realize there just isn’t redemption.” Ultimately, though, Hideaway is not an album about wallowing in depression. It’s
    about finding a way through all the noise and landing on something that approximates uneasy acceptance.
  • Harmless

    Harmless

    Pop

    Nacho Cano was born in Mexico City, and now resides in Los Angeles. The songwriter/producer has released musical projects under the name Twin Cabins, Canito and, currently, Harmless. Immigrating to San Diego at ten years old, Cano used hip hop to expand the English he was learning to speak.

    “Twin Cabins was done from my college dorm bedroom in an effort to make the music that I liked as well as a way to tell one of my crushes I liked them,” says Cano. Canito is an extension of Cano’s impeccable production work, “Sampling hip hop heavily influenced my process and how I make music. Canito is a reflection of that. It’s an exercise that allows me to be a part of a genre that helped me feel American.” Harmless is a colorful mix of emotions woven seamlessly with bright electronic synths, smooth vocals and the occasional playful saxophone.

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August Hall Presents

Wavves, Harmless

Thu Nov 11 2021 8:30 PM

(Doors 7:30 PM)

August Hall San Francisco CA
Wavves, Harmless

$25.00 All Ages

Proof of full vaccination is required to enter the venue. An individual is considered fully vaccinated at least two weeks after receiving a second dose of the Pfizer or Moderna COVID-19 vaccine, or two weeks after receiving the single dose Johnson & Johnson’s Janssen COVID-19 vaccine.

Acceptable forms of vaccination proof are the CA vaccine QR code, your physical vaccination card or a clear picture of your vaccination card.  Please also be prepared to present a government-issued ID along with your proof of vaccination to match. 

A negative test will not be accepted for entry into the venue, only proof of full vaccination.

Please correct the information below.

Select ticket quantity.

Complete the security check.

Select Tickets

All Ages
limit 4 per person
General Admission
$25.00

Delivery Method

ticketFast