THE 1975 INVITE THE JAPANESE HOUSE ON THEIR MASSIVE ARENA TOUR
THE SOLO ARTIST WILL OPEN FOR THE 1975 AHEAD OF THEIR OWN HEADLINE TOUR IN MAY
THE JAPANESE HOUSE, aka Amber Bain, has been announced as the support for The 1975’s sold out UK arena tour taking place in February. The tour will see The Japanese House play some of the UK’s biggest stages in Glasgow, London, Manchester and Birmingham, including four nights at London O2 Arena, ahead of her own headline UK tour in May. The announcement follows the release of ITEIAD Sessions, the collection of live versions of songs from the acclaimed second The Japanese House album In The End It Always Does, alongside a stripped back cover of the ABBA hit Super Trouper.
The 2024 UK tour will see The Japanese House play a sold out show at London Roundhouse – her biggest headline show to date – as well as nights in Glasgow, Birmingham and Manchester, following sold out UK and North America headline tours last year and three nights in Japan this month. Tickets are available from: thejapanesehouse.co.uk/tour
JANUARY
Mon 15 OSAKA Umeda Quattro
Wed 17 TOKYO Shibuya Quattro
Thu 18 TOKYO Shibuya Quattro
FEBRUARY
Thu 08 GLASGOW O2 Hydro *
Fri 09 GLASGOW O2 Hydro *
Mon 12 LONDON O2 Arena *
Tue 13 LONDON O2 Arena *
Wed 14 LONDON O2 Arena *
Sat 17 MANCHESTER AO Arena *
Sun 18 MANCHESTER AO Arena *
Tue 20 LONDON O2 Arena *
Wed 21 BIRMINGHAM Resorts Arena *
MAY
Tue 07 GLASGOW SWG3
Wed 08 BIRMINGHAM O2 Institute
Thu 09 LONDON Roundhouse
Fri 10 MANCHESTER Albert Hall
* supporting The 1975
It’s been almost a decade since Amber Bain’s break out in 2015, back when The Japanese House was a mysterious unidentified figure shrouded in reverb. These days, though, Bain’s sound and style is characteristically wide open with her vulnerabilities, thoughts and innermost feelings stitched into a tapestry of gorgeous, elevated pop music.
2023’s Much of In The End It Aways Does lives in the contradictory: beginnings and endings, obsession and mundanity, falling in love and falling apart. Written during a creative burst at the end of 2021, the album is primarily inspired by the events preceding it – including Bain’s first time moving to Margate, being in a throuple and the slow dissolution of those relationships.
“[These two people] were together for six years and I met them, and we all fell in love at the same time – and then one of them left,” Bain remembers. “It was a ridiculously exciting start to a relationship. It was this high; and then suddenly I’m in this really domestic thing, and it’s not like there was other stuff going on – it was lockdown.”
The album came together just as that chapter in her life was falling apart, with each song almost acting as a snapshot in time.
Four years after her widely celebrated debut Good At Falling, the follow up saw Bain lean even further into the pop realm – with help from Matty Healy and George Daniel from The 1975, Katie Gavin from MUNA and Bon Iver’s Justin Vernon among others. Bain credits Gavin especially with injecting her with creative energy and inspiration throughout.
The album also sees Bain work alongside producer and engineer Chloe Kraemer (Rex Orange County, Lava La Rue, Glass Animals), an experience she describes as “life changing” due to the unspoken, shared understanding between marginalised genders in a creative space.
“I’d never worked with a woman or queer person in that way before,” says Bain. “It’s nice to have someone who completely understands your standpoint and shared experience. Also, I say ‘she’ in every song … so it’s important that someone understands that.”
LISTEN TO IN THE END IT ALWAYS DOES
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