A pint’s well over a fiver, everyone’s skint and the nightclubs are closing. On the face of it, these are difficult times for those of us who love what the Criminal Justice Bill would call music “with a succession of repetitive beats.”
But despite it all, there are plenty of reasons to be cheerful. Promoters are having to become increasingly innovative, and growing gaps in the market are being filled by localised DIY projects representing some thrilling subcultures. The UK’s electronic music scene remains among the world’s best, and artists such as Honey Dijon have been at its vanguard for over a decade now. She’s a regular on the UK festival circuit and helps curate the likes of Warehouse Project’s Homobloc extravaganza. Now, Honey Dijon is kicking back against clubbing’s seemingly inexorable decline with a celebration of, and tribute to, the concept of nightlife.
The album launched at an abandoned cinema in the nation’s capital last Thursday 16th April and there are few artists from beyond these shores who understands the UK’s relationship with house music better than Honey.
Honey Dijon’s own clubbing journey is one that dates back to early 90s Chicago, when she was barely into her mid-teens. Those nascent years spent exploring the city’s house renaissance inspired a musical career that has spanned disco, house, techno, high fashion and the arts. The multi-hyphenate was recently invited to curate an event at the Tate Modern, celebrating LGBTQIA+ culture through a series of Polaroids, in the mould of one of Honey’s favourite creators, Andy Warhol. Honey is a formidable, captivating character and her forthcoming album feels similarly essential.
It’s a star-studded record. The list of collaborations is impressive, and suitably diverse. Mahalia, and her gorgeous lyrical sweetness, is a particularly wonderful collaboration. “Rush Me” is one of the record’s several highlights, as is the album’s title track, which dropped last October and features a gorgeous vocal from Chlöe.
“Slight Werk”, with Bree Runway—which the duo performed live at the legendary Homobloc party last year—takes another direction entirely. The similarities with Marie Davison’s “Work It” are apparent, but Honey’s imprint is indelible, carried by a signature deep house rhythm. “Okay Daddy”, with DJ Rush & Gavin Turek, nudges the BPM up further as Honey flexes her techno muscles.
The album is bookended by “club remixes” of each of these tunes, and they’re arguably even better than the originals. More percussive and punchier, and each clocking in at under three minutes, they’re wonderful examples of what Honey can do when the handbrake is released.
Honey’s DJ sets are typified by a relentless, hedonistic energy, and it’s in those moments that this album really shines. It’s fourteen tracks long but absolutely flies by. As the clocks having changed and we’re firmly into shorts weather; there are few better ways to herald the start of another glorious British summer than a similarly wonderful Honey Dijon record.
Listen to The Nightlife below.