Nightclubs
As a DJ and nightclub producer I ran events on a monthly basis between 2009 and 2020.
I designed the promotional artwork for Soulsville myself, creating collages from my archive of photography
Soulsville was a manifestation of a love affair with the world of the American Blues. Named after the Memphis based headquarters of Stax Records, the night charted the history of the multitude of Black American musics which evolved from the essential sound and ethos of the Blues up until the 1970’s.
I was enamoured by the unashamed celebration of the complete human condition that these musics represented; in their finest moments never shying away from expressing emotion and experience no matter how raw, painful, uncomfortable or societally unacceptable.
I founded Soulsville in 2009 and served as producer and resident DJ (accompanied by guests) every month at The Bongo Club in Edinburgh until I sold the night in 2015.
I was enamoured by the unashamed celebration of the complete human condition that these musics represented; in their finest moments never shying away from expressing emotion and experience no matter how raw, painful, uncomfortable or societally unacceptable.
I founded Soulsville in 2009 and served as producer and resident DJ (accompanied by guests) every month at The Bongo Club in Edinburgh until I sold the night in 2015.
artwork by Molly Rose Dyson (1/2/4/8), myself (3/6), Bridget Meyne (4) and Shelli Weiler (7)
Rhythm Machine was a monthly night of contemporary art and dance music that ran primarily at Summerhall in Edinburgh and The Art School in Glasgow.
Founded by myself and collaborator Andrew Danet in 2016 and premiering at the Edinburgh Fringe Festival, the night ran until the advent of the Covid-19 pandemic in 2020.
Rhythm Machine was an exploration of the possibilities of the nightclub format, incorporating work from emerging contemporary artists every month. The artwork we platformed was installion and performance centric and most often developed specially for the night. We showacsed an array of forms - from participatory theatre to sculpture, live painting to the moving image.
Andrew and myself were resident DJ’s and throughout the years we played along such guests as Pussy Mothers, The Pilotwings, BAKE, 12th Isle and ANZ. Andrew was in charge of music bookings and I served as Rhythm Machine’s art curator.
Founded by myself and collaborator Andrew Danet in 2016 and premiering at the Edinburgh Fringe Festival, the night ran until the advent of the Covid-19 pandemic in 2020.
Rhythm Machine was an exploration of the possibilities of the nightclub format, incorporating work from emerging contemporary artists every month. The artwork we platformed was installion and performance centric and most often developed specially for the night. We showacsed an array of forms - from participatory theatre to sculpture, live painting to the moving image.
Andrew and myself were resident DJ’s and throughout the years we played along such guests as Pussy Mothers, The Pilotwings, BAKE, 12th Isle and ANZ. Andrew was in charge of music bookings and I served as Rhythm Machine’s art curator.
artwork by Oliver Sabin
Non-Fiction was a series of three outdoor nightclub events produced in association with David Dale Gallery in Glasgow in the summer of 2019. The concept for the series was to expand on Rhythm Machine’s artist involvement model by collaborating with the artist on the conception and production of the nights as whole, encouraging a conscious departure from the presumed structure of the nightclub.
Each of the three guest artists; Ray Camara, Sequoia Barnes and Jordan PG conceived the format for their night in dialogue with either myself or Andrew Danet acting in the capacity of curators, then the two of us served as co-producers in realising their visions.
The result was a series of unique nights which expressed something of each artist’s practice and character.
Each of the three guest artists; Ray Camara, Sequoia Barnes and Jordan PG conceived the format for their night in dialogue with either myself or Andrew Danet acting in the capacity of curators, then the two of us served as co-producers in realising their visions.
The result was a series of unique nights which expressed something of each artist’s practice and character.