Today, The Japanese House announces her 2024 UK headline tour, set to take place in May in support of her critically-acclaimed second studio album In the End It Always Does, out now via Dirty Hit.
The 2024 UK tour will see her play her biggest headline show to date at London’s Roundhouse as well as nights in Glasgow, Birmingham and Manchester, following sold out UK and North American headline tours this year.
Sign up here for early access to tickets. Presale tickets will be on sale from 10am on Wednesday 1 November, and general tickets go on sale from 10am on Friday 3 November via thejapanesehouse.co.uk/tour. See below for full dates.
The Japanese House 2023 / 2024 Live Dates
NEW DATES IN BOLD
2023
NOVEMBER
1 – Philadelphia, PA – Union Transfer
2 – New York, NY – Webster Hall
3 – Jersey City, NJ – White Eagle Hall
4 – Washington, DC – 9:30 Club
6 – Carrboro, NC – Cat’s Cradle
7 – Atlanta, GA – Buckhead Theatre
8 – Nashville, TN – Marathon Music Works
10 – Austin, TX – Emo’s
11 – San Antonio, TX – Paper Tiger
12 – Dallas, TX – Granada Theater
14 – Santa Fe, NM – Meow Wolf
16 – Phoenix, AZ – The Van Buren
17 – San Diego, CA – The Observatory North Park
18 – Pomona, CA – The Glass House
20 – Los Angeles, CA – The Fonda Theatre
21 – San Francisco, CA – The Fillmore
23 – Vancouver, BC – Vogue
24 – Seattle, WA – Neptune Theatre
25 – Portland, OR – Revolution Hall
27 – Salt Lake City, UT – Salt Lake City Union Pacific Depot
28 – Denver, CO – Summit Music Hall
30 – Lawrence, KS – Liberty Hall
DECEMBER
1 – Des Moines, IA – Wooly’s
2 – Minneapolis, MN – Fineline
3 – Chicago, IL – Metro
5 – Detroit, MI – Majestic Theatre
6 – Toronto, ON – Danforth Music Hall
8 – Montréal, QC – Studio TD
9 – South Burlington, VT – Higher Ground – The Ballroom
10 – Boston, MA – Roadrunner
2024
MAY
7 – Glasgow, UK – SWG3
8 – Birmingham, UK – O2 Institute
9 – London, UK – Roundhouse
10 – Manchester, UK – Albert Hall
It’s been nearly a decade since Bain’s break-out in 2015, back when The Japanese House was a mysterious unidentified figure shrouded in mystery and reverb. These days though, Bain’s sound and style is characteristically wide open, her vulnerabilities, thoughts and innermost feelings stitched into a tapestry of gorgeous, elevated pop music.
Much of In the End It Always 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, In the End It Always Does 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 then we all fell in love at the same time – and then one of them left,” Bain’s 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, this album sees 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,” Bain says. “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.”
