Luke Howard is a name shared by more than one artist. One is a UK techno DJ and producer who begins DJing in the late 1980s and becomes a resident at London club Queer Nation from 1990, where he plays every Saturday. His sets centre on soulful, jazzy, disco-influenced house. He also holds residencies at DTPM at Fabric and Fruit Machine at Heaven, and performs guest spots at clubs including Faith, Cream, Indulge, London Calling, Ministry of Sound, Miss Moneypennys, Pacha, Renaissance, Soulsonic, Moist, High on Hope, Pushca and The Gallery.

He appears at Queer Nation alongside DJs including Frankie Knuckles, Francois K, Louie Vega, Danny Tenaglia, Kenny Carpenter, The Pound Boys, David Depino, Norman Jay, Matt “Jam” Lamont and Ashley Beedle. He also plays Queer Nation nights in Paris and Italy, and performs in Copenhagen, Stockholm, Barcelona, Montreal, San Francisco, New York, Denver, Atlanta and Moscow. His work earns him DJ of the Month recognition in The Face and Attitude.

He releases two records on Afro Art and continues to produce music, with two further tracks issued on that label in 2002. He also contributes to Blues & Soul and 7, and spends time in the marketing department of Defected Records.

Another Luke Howard is an Australian pianist, composer and bandleader with a classical background: he studies piano as a child and graduates with honours from the Victorian College of the Arts. He is based between Europe and Australia, leads the Luke Howard Trio and the ambient group Magnolia, and releases the trio album A Dove, A Lion, A Coast, A Pirate alongside the solo project Sun, Cloud in 2013. He is twice a finalist in the Montreux Jazz Festival Solo Piano Competition, wins the Bell APRA/AMCOS award for Best Australian Jazz Song of the Year in 2012, and receives the Keith and Elisabeth Murdoch Travelling Fellowship in 2001, which supports study with Paul Bley and Fred Hersch. He has worked with Ben Frost, Paul Grabowsky, the Grigoryan Brothers and Lior, has played on more than fifty recordings, and writes music for film and theatre. His music is described as cinematic, pastoral and “semi-classical” in reviews quoted in the input, and he appears frequently at the Melbourne International Jazz Festival.