Dinner Night + Bungalow + Carpet
+ Bungalow + Carpet
Wednesday 12th April
The New Adelphi Club
Poised with a microphone, a guitar and a drum loop: the start of Dinner Night was formed by two-flat mates as an evening activity to do after dinner. Becky Sparks and Max Lunn met at The Glasgow School of Art and moved in together in 2019. Dinner Night expanded when Gaspard Casanova and Holly Beer later joined to record their first singles. Finally Stan Welch joining in 2020 to finish the line up.
For The Rabbits review:
“Reporter in the Wind”, Dinner Night’s debut single is a jangly sub-two-minute bopper that will noodle its way into your head and stay there until you submit. Inspired by stormchasing meteorologists reporting from the eye of the hurricane, while preaching that you should stay safe at home. This metaphorical dismissal of news media reflects the angst and anxiety that can arise from a sense of detachment from the people around yoDinner Night’s sophomore single “Bernhard” is a love letter to the unusual people and spaces that are vital to any DIY art scene. The raucous Pixies-like riffs, interspersed with a soothing Galaxie 500-inspired melody reflect the struggle of managing life as an artist or keeping the doors of a shared community-focused space open.
“Bernhard” is an ode to creative people in weird places who enable you to do unique, experimental things. It highlights the importance of DIY spaces, now and in forever, and is a call to action to ensure they don’t all disappear. “Bernhard” was written after Max attended a 10-day residence in an abandoned hospital in northern Berlin. In an agreement with the hospitals groundskeeper – the titular Bernhard – artists spent their time tidying, repairing and restoring the building in exchange for space to exhibit their work. Bernhard, living there year-round and remaining cryptic about his personal history, boasted about his ambition to buy the building for €12 million and convert it into a DIY art school. During Max’s stay, Bernhard hosted an investment presentation with wealthy locals hoping to whip up interest in his venture. Despite some lofty ambitions the groundskeepers business plan needed a bit of work, and an appeal to each artist to invest their own funds went unanswered when Max and the other artists explained they were of the struggling, aspirational variety of artist rather than the rich and successful type.