From the ‘Scary World’ of 2018 to the ‘Die Die Lullaby’ of 2020, LA based duo NIGHT CLUB have put their enforced confinement in lockdown to good use and channelled their angst to produce a wonderful 35 minutes of existential dread.
Emily Kavanaugh and Mark Brooks opened their account in 2012 with a self-titled EP. The second EP ‘Love Casualty’ included their first universally great song in ‘Poisonous’. But it was their excellent third EP ‘Black Leather Heart’ in 2014 that managed to truly harness the potential of their Britney Spears meets NINE INCH NAILS template across five tracks.
Their debut full-length album ‘Requiem For Romance’ turned up their love of heavy rock to 11 but they cleverly achieved it without the use of guitars or live drums, confusion some but delighting others.
‘Scary World’ was an extension of that sound but while ‘Die Die Lullaby’ is undoubtedly a refinement of its predecessors, like with Gary Numan’s ‘Savage (Songs From A Broken World)’, the more metal elements have been turned down and in its place is a more vulnerable demeanour that emotively is no-less weighty in its attacks and observations.
Sonically, the album contains a typically NIGHT CLUB twist. Co-mixing with Brooks is Dave Rave Ogilvie, a former member of SKINNY PUPPY known for his work with NINE INCH NAILS and Marilyn Manson. But crucially, he also mixed Carly Rae Jepsen’s 2011 worldwide smash hit ‘Call Me Maybe’ so for ‘Die Die Lullaby’, NIGHT CLUB have found their perfect co-conspirator .
As they begin to ‘Go to Sleep’, ‘Die In The Disco’ sets the album off proper with a slice of throbbing HI-NRG disco, donning its hat to Giorgio Moroder and Bobby Orlando with Kavanaugh asking to “take me to a place I can dance” before a haunting request for life termination. And when an unsettling ghostly pitch-shifted voice exclaims that ”This is my party and I will die if I want to”, that die is cast.
Following on, ‘Sad Boy’ is classic NIGHT CLUB, up there with their best but more old school Goth than metal with hooks galore. ‘My Valentine’ though is heavier and here, the Kavanaugh / Brooks / Ogilvie combination achieves a fine balance of edge and pop while throwing in a few exotic flavours too.
Trapped in her own personal hell and under the spectre of IAMX’s ‘Spit It Out’, ‘Miss Negativity’ sees Kavanaugh capturing the zeitgeist, singing that “No, I don’t want to go out cos I won’t have any fun, I am sick and infected with pure pessimism…”
On ‘Gossip’, Kavanaugh tells someone to shut their dirty mouth as a chilling horror movie Theremin announces its presence. ‘Misery Go Round’ though will surprise some with its sparse but effective verse structure that gets overturned with a chorus pitch shift and vocoder ending while our heroine tells everyone that “I don’t feel so good right now”.
The haunting music box on ‘The Creepshow’ will remind some of Numan’s ‘It Will End Here’ and that’s not a bad thing, while ‘California Killed Me’ captures Kavanaugh in a cage of anxiety because ”I feel like crying” as “I’ve nowhere to run”. However, mated to all of this intensity is a mighty chorus and synth solo.
Closing with ‘Civil War’, Kavanaugh channels her existential dread, unhappy that “I’ve become someone I hate” as she battles her demons because she “can’t escape the pain in the war inside my brain”.
A slice of dark DEPECHE MODE tinged pop that says “it will be over soon”, the words are worrying but on point, echoing how many feel in this strange world that was already becoming irrational and self-destructive even before the Covid crisis.
‘Die Die Lullaby’ sees the NIGHT CLUB motto of “Keep your friends close and your enemies in your songs” being maintained, but pragmatically looks within the psyche too.
Reflecting the times the world is living in, this is uncomfortable but enjoyably cathartic. When commentators and historians look back in a few years for an audio document that captures the introspection and paranoia of 2020, then they will need to look no further than ‘Die Die Lullaby’.
Deeply ominous and alluringly transfixing, Los Angeles-based synthrock duo NIGHT CLUB, who The Electricity Club once affectionately described as sounding like “Britney fronting NINE INCH NAILS”, will be embarking on their first headlining tour of North America this Autumn.
Visiting over twenty cities, the extensive tour is apt reward for Emily Kavanaugh and Mark Brooks who impressed audiences while opening for noted aggrotech exponents COMBICHRIST and alternative rock supercombo A PERFECT CIRCLE in 2018.
Having released a trilogy of EPs and two albums ‘Requiem for Romance’ and ‘Requiem’, as well as producing the soundtrack to the animated Comedy Central cop show ‘Moonbeam City’, the couple have just unleashed a sinister self-directed visual presentation for ‘Your Addiction’, one of the highlights from ‘Scary World’.
With a majestic synth boom that is both heavy and funky, ‘Your Addiction’ exploits Kavanaugh’s disturbed feline presence to the max with a cry of “these are your sins”. The video sees her preaching at The Church of the Anti-Heart where the gathered congregation comprises of those who have lost their hearts through their addictions. With them finding solace in this dark mutant cult, the imagery wouldn’t look out of place in John Carpenter horror flick, although some may consider the conclusion a gothic twist on a controversial scene from ‘Indiana Jones & The Temple Of Doom’!
NIGHT CLUB told The Electricity Club in 2018: “‘Your Addiction’ is sort of like ‘Dear Enemy pt. 2’. That one fell together quickly and has a very personal vendetta behind it. In fact it’s about the same person as ‘Dear Enemy’”. Keeping their friends close and their enemies in their songs, they added “There’s nothing more impactful than having a friend turn into an enemy.”
Strung out by some unsettling deep vocal pitch shifting, the couple said: “We got tired of the vocals being one dimensional. So we started layering the vocals and fucking them up to create something new and original… we just like to tweak them to expand the sonic palette.”
With NIGHT CLUB’s live show centred around the intense moods and feisty motions of Kavanaugh, the tour appropriately begins at a place called Bar Sinister… “tell me you like the way it hurts!”
NIGHT CLUB 2019 North American live dates include:
San Francisco Bottom of The Hill (2nd October), Vancouver Astoria Pub (4th October), Seattle Chop Suey (5th October), Portland Star Theater (6th October), Salt Lake City Urban Lounge (8th October), Denver Streets (9th October), Chicago Cobra Lounge (11th October), Detroit The Sanctuary (12th October), Kent The Outpost (13th October), Brooklyn Sunnyvale (15th October), Philadelphia Voltage Lounge (16th October), Washington DC9 (17th October), Louisville The Tiger Room (18th October), Merriam Aftershock (19th October), Dallas Lizard Lounge (20th October), Austin Elysium (21st October), Albuquerque Moonlight Lounge (23rd October), Mesa Club Red (24th October), Las Vegas Backstage Bar and Billiards (25th October), Costa Mesa The Wayfarer (26th October), San Diego Brick By Brick (27th October) – tickets available from http://nightclub.soundrink.com
William Mark Wainwright got his affectionate nickname Orbit from his friends who considered him to be something of a “space cadet”.
As William Orbit, the Hackney born musician and composer became one of the most revered producers, winning Grammys, Ivor Novellos and several other music industry awards.
Despite being a competent guitarist, Orbit considered himself unable to play keyboards well and admitted that it was the advent computers in music that allowed him to fully realise his creative potential.
His portfolio has ranged from electronic acts like KRAFTWERK, OMD, CAMOUFLAGE, ERASURE, THE HUMAN LEAGUE, NITZER EBB and DEPECHE MODE to rock bands like QUEEN, U2 and BLUR.
However, it was within dance-oriented pop that Orbit made his fortune through productions characterised by his trancey soundscapes, sparing fretwork and understated rhythmic construction. He even had a Top5 hit bearing his own name, albeit with a radically different trance remix by Ferry Corsten of ‘Adagio For Strings’ in 2000.
Brought up in a classical music loving family, Orbit shocked his teacher parents by dropping out of school to pursue his more creative inclinations, having tried a synth for the first time at the age of sixteen.
Things came to came to fruition when a friend wanted to start a recording studio. That venture eventually became Guerilla Studios which has now been based in various locations over the past three and a half decades.
These days, Orbit is a very content man, hosting a classical music show on Scala Radio as well as curating occasional lecture and multimedia art events.
Showing little concern for the financial aspects of the music industry, his two most recent albums ‘Orbit Symphonic’ and ‘Strange Cargo 5’ were given away as free downloads on Soundcloud in 2014.
With such a vast and varied career, it would be quite tricky to compile eighteen tracks involving Orbit’s magic touch, but The Electricity Club will attempt to do that with the restriction of one track per album project. So presented in chronological order, here is a Beginner’s Guide to William Orbit.
TORCH SONG Prepare To Energise (1983)
Comprising Orbit, Laurie Mayer, Grant Gilbert and latterly Rico Conning who subsequently worked with Martin Gore on the ‘Counterfeit’ collection, TORCH SONG were signed by music entrepreneur by Miles Copeland; the advance allowed for Orbit to build up his Guerilla Studios. ‘Prepare To Energise’ is probably still their best known tune, a pulsating cosmic club favourite with robotic voices and synthesized textures which featured in the film ‘Bachelor Party’ that was maybe ahead of its time.
Originally available on the TORCH SONG ‘Wish Thing’ via IRS Records, currently unavailable
THE PARTNERSHIP was an unrealised side project comprising of Peter Saville cohort and ex-SPOONS member Brett Wickens with Roger Humphreys who together recorded as CERAMIC HELLO. Produced by Orbit and heavily influenced by KRAFTWERK, the uptempo ‘Sampling The Blast Furnace’ featured lead vocals by Andy McCluskey of OMD alongside vocodered voices and chants by Martha Ladly. The slower McCluskey-less demo was a bonus on the reissue of CERAMIC HELLO’s only album.
Having artists from Mute Records and their dance subsidiary Rhythm King who included S-EXPRESS being remixed at Guerilla Studios gave Daniel Miller first-hand exposure to William Orbit’s capabilities. So who better to ask to house-up ERASURE’s cover version of Cerrone’s electronic disco landmark? The end result was suitably vibrant while still importantly retaining the core of the tune amongst all the fascinating dance rhythms and interplanetary effects.
From THE HUMAN LEAGUE’s final Virgin album, ‘The Stars Are Going Out’ was a good tune from Oakey and Co that was one of four mixed by William Orbit in a bitty collection that also contained two songs produced by Martin Rushent and one by ex-ZTT cohort Bob Kraushaar. Strangely though, there appeared to be little of Orbit’s distinctive magic audible in the end result. It had been an unhappy time, as Orbit preferred to work without any of the band present, something they had not been prepared for.
Available on THE HUMAN LEAGUE album ‘Romantic?’ via Virgin Records
Combining modern developments in house music and dub with the feel of SOUL II SOUL, Orbit slotted right into the zeitgeist with ‘Fascinating Rhythm’ featuring vocalist Sharon Musgrave and rapper MC Inna One Step with an uplifting club friendly number that had “pulsating action” and was “breaking into heaven”. BASSOMATIC lasted for just two albums but it cemented Orbit’s position as a studio wizard who understood sound as well as the dancefloor.
KRAFTWERK Radioactivity – William Orbit 12″ Remix (1991)
‘The Mix’ was actually supervised by KRAFTWERK themselves, with the most significant makeover being ‘Radioactivity’ and its additional unsettling machine chant of “TSCHERNOBYL – HARRISBURGH – SELLAFIELD – HIROSHIMA” for an anti-nuclear message highlighting recent atomic catastrophes. For the single release, remixes were farmed out externally and Orbit’s version offered a more preferable electro enhancement than François Kevorkian’s house laden rework.
Originally available on the KRAFTWERK single ‘Radioactivity’ via EMI Records, currently unavailable
WILLIAM ORBIT featuring BETH ORTON Water From A Vine Leaf (1993)
If there was a track that could be considered the root of the recognised Orbit signature sound, it probably has to be ‘Water From A Vine Leaf’, his first collaboration with kooky folktronica maiden Beth Orton. Having met at a party and beginning a relationship shortly after, he asked her to contribute spoken word phrases and singing for the third in his ‘Strange Cargo’ series over some looping rhythms, hypnotic bass and chill-out vibes. Orton went on to have a solo career and work with THE CHEMICAL BROTHERS.
Orbit’s concept of adapting classical works came about because he wanted to make a chill-out album that had some good tunes. In his first attempt using a pseudonym, one of the key tracks was ‘Fratres’ by 20th Century Estonian composer Arvo Pärt. Comprising of a six-bar theme, Orbit gave his electronic arrangement a sublime haunting stillness that explored the piece’s rich harmonic space via a slow meditative tempo. However, Pärt objected to its copyright infringement and the album was quickly withdrawn.
Originally on THE ELECTRIC CHAMBER album ‘Pieces In A Modern Style’ via N-Gram Recordings, currently unavailable
With Orbit having remixed ‘Erotica’ in 1992, Ms Ciccone was keen to work with the Englishmen, spending four and a half months at Larrabee Studios in Hollywood. ‘Ray Of Light’ was an interpolation of a little known 1971 song ‘Sepheryn’ by the British folk duo of Dave Curtiss and Clive Maldoon. Despite its frantic pace, Orbit ensured that the rhythmic elements were subtle in their make up to procure an earthy rave quality that was the antithesis of most dance music of the era.
With his new found fame via MADONNA, Orbit was given the opportunity to reissue ‘Pieces In A Modern Style’ and included several new recordings, one of which was Ludwig Van Beethoven’s lesser known ‘Triple Concerto’. With synthetic bells and glistening pentatonics reminiscent of Ryuichi Sakamoto added for a soothing lullaby effect, use was also made of the metallic percussive loop that had been part of his version of Arvo Pärt’s ‘Cantus’ from the original withdrawn album… waste not, want not!
Following MADONNA’s success, next in line for the Orbit treatment were London girl group ALL SAINTS. Having scored a No1 with the sublime ‘Pure Shores’ from ‘The Beach’ soundtrack, the combination did it again with ‘Black Coffee’. Orbit’s dreamy electronic aesthetics, spacey effects and minimal textural guitar worked perfectly for the soulful quartet to produce something that was commercial and accessible yet otherworldly and unconventional.
With his high-public profile thanks to MADONNA and ALL SAINTS, it was no big surprise when U2 came calling. With a suitably airy beginning and heavy on acoustic guitar for the more esoteric sound that the Dubliners had been peddling since working with Brian Eno and Daniel Lanois, in the end ‘Electrical Storm’ just built up to sound just like U2, albeit with occasionally prominent windy electronic textures. There was also a second Orbit produced tune in ‘The Hands That Built America’.
WILLIAM ORBIT featuring SUGABABES & KENNA Spiral (2006)
Continuing his flirtation with out-and-out pop, Orbit teamed up with the UK pop’s answer to Charlie’s Angels SUGABABES and US/Ethopian artist Kenna on this slice of ambient electro R’n’B. Continuing to collaborate with TORCH SONG bandmates Laurie Mayer and Rico Conning, while the ‘Hello Waveforms’ album continued in the chill-out vein of ‘Pieces In A Modern Style’ and even included ‘The Humming Chorus’ by Puccini, prominent vocals were in the mix as well as real strings and brass.
By the mid-noughties, Robbie Williams was the biggest popstar in the world but strange things were happening in the wake of his split with hit collaborator Guy Chambers. Finding a new collaborator in Stephen ‘Tin Tin’ Duffy, he belatedly went electroclash with their first fruit of labour ‘Radio’. He then went all Synth Britannia on ‘Rudebox’, working with PET SHOP BOYS but also covering his new writing partner’s ‘Kiss Me’ and THE HUMAN LEAGUE’s ‘Louise’ which Orbit produced…
Available on the ROBBIE WILLIAMS album ‘Rudebox’ via EMI Records
WILLIAM ORBIT featuring SARAH BLACKWOOD White Night (2010)
During the CLIENT hiatus, Sarah Blackwood took time out to work on ‘White Night’, a Rico Conning penned track for Orbit’s ‘My Oracle Lives Uptown’ album which dated back to their TORCH SONG days. Although her version did not appear on the final tracklisting, her take was offered as a free download. More accessible than some of CLIENT’s offerings but more purely electronic than DUBSTAR, this was a priceless pop gem which lyrically expressed her pain during that period.
Originally available as a free download, currently unavailable
Producing a long awaited follow-up to his original electronic classical collection, ‘Pieces In A Modern Style 2’ continued where its predecessor left off, offering another predominantly chill-out album that had some good tunes. But one of the bonuses was an unexpected novelty in a sparkling technopop version of Georges Bizet’s opera standard ‘Carmen’, complete with stabbing synths and dramatic percussive passages to portray the seductive title character as a kind of Barbarella.
A co-write with the one-time princess of pop, ‘Alien’ highlighted Britney’s feelings of loneliness. However, a vocal warm-up recording without her characteristic electronic treatment was leaked onto the internet, prompting Orbit to say in defence of the starlet: “Whomever put this on the internet must have done so in a spirit of unkindness, but it can in no way detract from the fact that Britney is and always will be beyond stellar! She is magnificent! And that’s that.”
Orbit had discussed how becoming a superstar producer had made him unhappy and how he was pleased to have blown his fortune as all he had done was spend it on first class travel and equipment he never used. So when he recorded ‘Did It For Love’ with actress, artist and performer Triana Terry, the sentiment couldn’t have been more poignant in a feisty oddball mixture of electronic, pop and rock dynamics. Together, Orbit and Terry have presented a number of exhibitions combining paintings and music.
Not officially released, only available on YouTube
The Electricity Club once described NIGHT CLUB as sounding like “Britney fronting NINE INCH NAILS”. Now requoted by a number of other media outlets, that description appears to have stuck.
The Los Angeles based duo of Emily Kavanaugh and Mark Brooks impressed with a trilogy of fine EPs and produced the soundtrack to the acclaimed animated Comedy Central cop show ‘Moonbeam City’ featuring the voices of Rob Lowe and Elizabeth Banks, before finally releasing a full-length album ‘Requiem for Romance’ in Summer 2016.
Currently touring Europe with aggrotech exponents COMBICHRIST and horror rocker WEDNESDAY 13, NIGHT CLUB release their second long player ‘Scary World’ in late August, which develops on the sharp synth rock template of its predecessor.
With the triple header hitting selected cities the British Isles, NIGHT CLUB will also be headlining two August shows of their own in Sheffield and London.
NIGHT CLUB spoke to The Electricity Club just as they landed in the British Isles…
It is indeed a ‘Scary World’, have political events at home been a subliminal influence on the album? Is it making you ‘Schizophrenic’?
Yes, the political environment in the US is definitely making us nervous. Our new LP is sort of influenced by that but also very influenced by our own internal anxiety. It became apparent to us when we started writing this record that we both had a lot to say about the subject of anxiety. We have both suffered from that condition and the words just started to seep out of us. The album sort of morphed into an opus about mental illness and coping with it. By the time we finished the record, we ultimately realized that it’s about the scary world inside and outside of all of us. It’s also a warning to those younger than us about the road ahead.
This album is a natural progression of ‘Requiem For Romance’ but more refined without losing any edge?
Yeah, ‘Scary World’ is definitely a natural progression from ‘Requiem’. Sonically speaking, ‘Requiem’ was when we really discovered our sound. The new album is just a more advanced version of ‘Requiem.’ We spent a lot of time on this one and poured our souls into it. We would say ‘Scary World’ is an advance in our lyrical songwriting just as much as our last record was an advance in our sound.
The title song is a case in point, you’re playing around with the pitch shifting with the vocals but have created your own kids choir to give the track an eerie resonance?
Yeah, we’ve been experimenting with vocal effects for a while now but that choir is an actual kid’s choir! They are called the MUSYCA Children’s Choir of Los Angeles. They were amazing to work with and helped give the song its eerie resonance. It was a total PINK FLOYD moment to have them on our record.
The Electricity Club can hear a bit of your inner Joan Jett creeping out on that one and the first single ‘Candy Coated Suicide’?
Well, there’s nothing wrong with that is there?
Pitch shifting is a more interesting way of manipulating vocals with technology than using autotune?
Yes, definitely. We got tired of the vocals being one dimensional. So we started layering the vocals and fucking them up to create something new and original. Just for the record, all of the vocals on all of our records are Emily, we just like to tweak them to expand the sonic palette.
Sonically this album has been another step forward, there’s a great energy to ‘Vampires’ and some fabulous synth sounds?
Yes, we decided when we started recording this album to delete all the old sounds and build all new synth sounds from scratch. It gave the new LP its own identity and soul. We wish people on the radio would do the same.
Both ‘Therapy (Get High)’ and ‘Your Addiction’ have some interesting lyrical gists?
Yeah, both those songs are very personal. ‘Therapy’ is really about feeling trapped by your anxiety and wanting to be free, while ‘Your Addiction’ is sort of like ‘Dear Enemy pt. 2’. That one fell together quickly and has a very personal vendetta behind it. In fact it’s about the same person as ‘Dear Enemy’.
What’s ‘Blood On Your Blade’ about, you could imagine Michael Jackson doing a song like this in his ‘Dangerous’ phase?
That song is about feeling used. Without giving up their identity, the song is about someone who pulls you into their world and sucks from you creatively without giving anything back. Once they get what they need from you, they move on. You’re just blood on their blade.
Did you have an ‘Imaginary Friend’ when you were younger? And is the song a reflection of the vapid online connections where people will prioritise over “not upsetting” a virtual relationship with someone they’ve never met over loyalty to a personal friend of many years?
That song is really about fake relationships that we’ve both encountered in Los Angeles. It comes from the frustration of thinking that you are friends with someone only to find out that you’re just a stepping stone for whatever they needed at the moment.
Is your philosophy still “Keep your friends close and your enemies in your songs”?
Ultimately we write songs about everything we’re going through, so instead of being angry about things that have happened to us we channel it into our music.
There’s nothing more impactful than having a friend turn into an enemy. It’s also very satisfying every time you play that song live.
The closing number ‘Survive’ doesn’t offer any respite, this album is quite full on!
That song ended up being the perfect ending to the album. It lyrically evolved into a message that became the answer to the themes that ‘Scary World’ brought up. Ultimately, the world (illness) may stand in your way but it’s your job to navigate around it and survive.
How has the COMBICHRIST + WEDNESDAY 13 tour been going? The match is wonderfully odd, yet fitting at the same time?
The tour has been going great. We’re in Europe currently and the shows have been amazing. Lots of people have coming out, and we’re definitely being introduced to a new audience we’ve never played to before. The tour line-up is an eclectic mix of different styles, yet it somehow works. It’s also been really cool to see people singing along to our songs in countries we’ve never been to.
What about the reactions of the predominantly rock-oriented audiences, could they get their heads round a synthpop duo with no guitars and no drums?
Overall, the audiences have been awesome and supportive. It takes them a few songs to figure us out but then they realize that we’re just as heavy even with only synthesizers.
By the end of the set, their reaction is overwhelming. It’s a great challenge for an electronic duo to play before and after loud rock bands (with drums, guitars etc). Ultimately, it just makes you better and ups your game.
So what are your hopes, fears and plans for ‘Scary World’?
We hope that people embrace and love this record as much as we do. We worked hard on it. We’ll also be embarking on a pretty exciting Fall tour that we can’t talk about yet, so we’ll definitely be playing more of these songs live. Also more music videos to come…
The Electricity Club gives its sincerest thanks to NIGHT CLUB
Additional thanks to Tracy George at TAG Publicity
‘Scary World’ is released by Gato Blanco on 24th August 2018, available on the usual digital platforms
NIGHT CLUB 2018 live dates in the British Isles include: Dublin Tivoli (7th August)*, Belfast Limelight (8th August)*, Glasgow Garage (9th August)*, Sheffield Mulberry Bar (10th August), London Hoxton Stag’s Head (11th August)
The Electricity Club once described NIGHT CLUB as sounding like “Britney fronting NINE INCH NAILS”.
Now re-quoted by some other media outlets, that description appears to have stuck. With their second album ‘Scary World’ on the way, NIGHT CLUB have a mind bending visual accompaniment to go with its lead single ‘Candy Coated Suicide’.
‘Alice In Wonderland’ author Lewis Carroll had a disorder which caused him to have hallucinations about shrinking and chatting to anxious leporids, but what would he have made of this video to ‘Candy Coated Suicide’?
Described by singer Emily Kavanaugh as “like if an 8 year old and her stuffed animals discovered LSD and went on a solid 4 day bender”, the self-directed video sees her cavorting with two synth playing rabbits as well as a teddy bear with chains and cuffs being two of the prominent accessories.
However, the abundance of pitch shifted vocals ensures ‘Candy Coated Suicide’ possesses a slightly devilish quality, while instrumentalist and producer Mark Brooks has added a grittier rock dynamic that makes its presence felt in the bridge to compliment the dysfunctional pop aesthetic.
Currently touring North America with aggrotech exponents COMBICHRIST and horror rocker WEDNESDAY 13, the triple bill hits Europe in the summer including dates in Dublin, Belfast and Glasgow.
But while they are in the British Isles, NIGHT CLUB will also be headlining two August shows in Sheffield and London.
NIGHT CLUB 2018 live dates include: Dublin Tivoli (7th August)*, Belfast Limelight (8th August)*, Glasgow Garage (9th August)*, Sheffield Mulberry Bar (10th August), London Hoxton Stag’s Head (11th August)