George Fitzgerald

Auditree & TBC present

George Fitzgerald Tickets

10:00pm, Fri 11th November, 2016
The TBC Club, BRISBANE, QLD

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Event Details

George Fitzgerald has certainly come 'full circle' with his productions over recent years. He visited Australia in 2015 on tour with Listen Out but recently he has made a return to 'club-focussed' tracks with his latest release 'Eyes of Mine'. He wanted to reestablish a connection with the music that influenced his earlier releases, and said of 1.1 and 1.2 'So much of my favourite house and techno of that nature has been released in standalone series of 12-inches that evolve over time. I wanted to start my own series to run in parallel and serve as a counterpoint to my other work.'

We're very excited to host George for the first time as part of our Spring/Summer 2016 lineup. Not only has he been an influencer for many years thanks to his BBC Radio 1 Residency, but his productions are timeless and his DJ sets unique.

Supported by

- Jimmy Ellis

- Tiafau (elsewhere)

- Willaris K

 

Tickets

Earlybirds $10+bf - SOLD OUT

Second Release $15+bf - SOLD OUT

Final Release $20+bf - on sale now!

 

GEORGE FITZGERALD

Listen - https://soundcloud.com/george-fitzgerald

It's a coming of age story. When Englishman-in-Berlin George FitzGerald first signed to Domino sister label Double Six at the start of 2013, he was full of optimism. He is part of a generation of artists and DJs who witnessed at first hand the early and experimental days of a uniquely 21st century sound - dubstep - and then saw it explode into the club mainstream, catapulting them to unimagined successes as it did. Along with friends and compatriots like Ben UFO, Joy Orbison, James Blake and Pearson Sound, FitzGerald had been schooled in the power of bass vibrations and sonic experimentation at the small, cult-like FWD>> club night in east London in the mid 2000s. This cadre then found themselves able to take these lessons, along with those of the Berlin techno explosion, to the world as the dizzying diversification and renaissance of club music post-dubstep took hold globally, rejuvenating traditional genres as they went.

First, as the softly spoken George explains, his initial sketches "were just false nostalgia, or beholden to something that I'm not: to Chicago, or Detroit, or London's 2-step garage, or sampled R&B vocals... and I just started caring less about making that sort of zeitgeist statement album, and more about just not feeling like all my idioms and tropes were borrowed anymore." It was at this point that George decided to take stock and try to reconnect with influences he felt were true to his conception of his own self.

The final piece in the musical puzzle that began his production career was a move to Berlin as part of his university languages course. Initially turned off by the rather decadent and washed-out "minimal" scene there, he eventually discovered the more visceral, deep-rooted techno of the notorious Berghain club which seemed to square with his experiences of dubstep and soon after got the patronage of fellow ex-pat Paul Rose aka Scuba - who would sign George to his Hot Flush label. Very quickly, in 2010, George threw aside his postgraduate studies deciding that "if I was going to do the music thing, I was going to do it properly, not just knock out a few tunes at night after I got in from studying and clubbing, but really make it work."

After previously allowing computers to be his main instrument, George turned to tape, analogue electronic instruments and the real voices of his friends for Fading Love, "not because I wanted to show off in interviews and be a snob about it - but because I wanted to make my music more alive and spontaneous, keep the errors that were made and turn them into features, even if that meant losing some of the cleanliness that makes tracks 'bang' on big systems."

"I don't feel like I've got to showcase my own material any more - especially now my tracks have very little to do with the clubs - so I can really play exactly the kind of sets I want to!" Feeling bolstered by his experiments with song structures and vocals to look forward to a time when, like James Ford of Simian Mobile Disco, he might use his dance experiences to become a producer for other, more diverse artists. GeorgeFitzGerald really has come of age in the production of Fading Love, and - while perhaps not in the way he originally envisaged it when the strange process of making the record began - is still ready to take on the world.

 

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