Australian queer noise-pop duo, Cry Club are as gentle in spirit as they are ferocious on stage, they have a flair for creating relatable, empowering and danceable anthems coupled with head-turning moments of intrigue and flawlessly tight guitars. Cry Club cut through when their single, ‘DFTM’ earned them a full add on triple j and positive press at home and internationally. On their debut full-length album, God I’m Such a Mess, they showcased their confidence, vision and fiercely idiosyncratic personality which was featured at triple j and KEXP.
Citing a wide array of influences from LCD Soundsystem and The Cure to Eilish Gilligan, Cry Club – Heather Riley (they/them – vocals) and Jono Tooke (he/him – guitar) cut their teeth in the Wollongong music scene before moving to Melbourne. While Riley grew up in the Western suburbs of Sydney with a background in theatre, Tooke grew up in Wollongong, playing in numerous bands and producing artists. The two met on a plane to Japan where they bonded over their shared love of Cartoon Network’s obscure fantasy series, Over The Garden Wall and how they both cried during the finale. It wasn’t long before Tooke called up Riley to help finish writing their first song, ‘Don’t Go’, a song he’d already started.
Having been booked to play 2018’s BIGSOUND before having released a single, Cry Club had heads talking. Their first single, ‘Walk Away’ garnered much support from the press at home. While it was their second single, “DFTM” which helped them take out ‘most played artist’ on triple j Unearthed in 2019 and saw them hit the road supporting Alex Lahey, Alice Ivy, WAAX and Bec Sandridge, Tooke even moonlighted in Alex Lahey’s band to perform triple j’s Like A Version. In October 2019, they released ‘Robert Smith’ and headed on their first ticketed tour, selling out rooms in key capital cities, while they’d been booked for their most notable festivals to date – Falls Festival, Lost Paradise, Splendour in the Grass.
In 2020, Cry Club focused their attention on completing their debut full-length release, God I’m Such A Mess, an album that seethes with go-for-broke honesty and provides it power and gravity.