Here’s how I approach pretty much any lighting setup. I set each set of lights in different groups so that I can tweak them separately.
(1) Get the base-exposure right. This is often simply “ambient light.” It’s shadow-less and cheap, and I usually omit the specular component. But it is enough to get sufficient details in all of the shadows without blowing-out any of the highlights. If you used the histogram tool at this point, it should be a shape like a flattened bell centered in the middle third, with no "peaks’ to either end. Because it is supposed to be nighttime, this will have a bluish cast.
(2) Work on the highlights. Often using layer-specific lights for maximum control, I work on the areas that need for some reason to be brighter. These are actually dim lights because they only need to bring the lights up to the appropriate level in a specific area. Usually these, too, do not cast shadows. (Shadows are expensive.)
(3) Inject shadows! You can have a “shadow spotlight” that subtracts light from a scene. You can also have a “shadow-only spotlight” which casts a shadow but doesn’t add light. I find that it is very often easier to deal with highlights and shadows separately, literally “because you can.” I use buffered shadows whenever possible.
Now, check that histogram again. The shape will have changed with more “peaks” toward the left and right hand side, but there are no (or almost no) opaque-shadows or blown-out whites.
You can go farther and use node-based compositing for fine control. For instance, at night, colors are very desaturated and contrast is very subdued. “There’s a node for that.”
The shot when finished should look good, even if it is not technically correct.