628 Divisadero St
San Francisco, CA, 94117
Doors 8:30 PM / Show 9:00 PM
This event is 21 and over
Put simply, you could call Young Fathers an alternative lo-fi R&B trio; however, they don't completely fit in that box, with their wide-spanning spread of Hip Hop, Punk, Dub, Gospel and Pop.
Formed in Scotland in 2008 by Alloysious Massaquoi, Kayus Bankole and G. Hastings, the group started performing in nightclubs when the band members were all still in their early teens. In 2012, they signed to LA based label, Anticon and released their introductory mixtapes, Tape One and Tape Two. The trio then signed to Ninja Tune and released debut album, Dead, which was released in 2014. The album gained a lot of critical attention and went on to win the prestigious Mercury Prize. Following an extensive world tour the band decamped to Berlin to begin work on their sophomore album, White Men Are Black Men Too, which was released in April 2015.
Young Fathers toured extensively in 2015, playing the UK, large swathes of Europe and did a six week stint in the USA.
In 2016, the band were invited to support Massive Attack on their UK and European tour after working together on Massive Attack’s single “Voodoo In My Blood”, which was released in January 2016.
Young Fathers feature 6 tracks on the Trainspotting T2 soundtrack, including “Only God Knows”, written specifically for the film.
They have just finished recording a new album.
The debut LP by Algiers is haunted by promises of the past: the rapturous call and response of millenarian gospel, the bellowing urgency of 60s protest soul, the scene-searching intensity of DC hardcore and the smeared viscosity of post-punk and no wave. After all, as Marx once said: "The tradition of all dead generations weighs like a nightmare on the brains of the living." But rather than revel in a state of nostalgia, the band wields these burdened visions to charge headlong into the future.
Over the album's eleven tracks, these three émigrés of the American Deep South lay waste to appropriators, oppressors, revivalists and the cultural shock troops of capitalism. Vocalist Franklin James Fisher's every shriek and incantation will take you from the sweaty fervor of Dennis Edwards-era Temptations through the righteous rebellion of Nina Simone to the solitary midnight howls of PJ Harvey. Shards of Lee Tesche's guitar, along with Ryan Mahan's bass pulses and synthesizer slashes, pierce through the processional, transforming neo-modernist hymns with explosions of foreboding and dread that evoke the vanguard of pop experimentation from Suicide to Roland S. Howard.
In an era when political subjectivity and human connectivity have been smashed to pieces by the demands of finance capital, Algiers has taken its stance: to maintain fidelity to these subversive spirits and trudge toward the light. While they may never arrive at their destination – consigned to a life of wandering – they conjure the dead sound to life in frightening new directions.