George FitzGerald is a British DJ/producer whose raw sound blends jackin' Chicago house with UK bass influence. Hits include "Child", "I Can Tell (By The Way You Move)" and "Every Inch." His own imprint, Man Make Music, boasts releases from Trikk, Laszlo Dancehall (AKA Leon Vynehall and Christian Piers) and himself. Rush Plus play an extended set early, and One Love Massive's Feel the Love, Live returns to the Bar featuring Pinky KillaCorn, The Lucky So & Sos and Avervge.
Bar: One Love Massive pres. Feel the Love, Live (open mic)
The Lucky So & So's
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.
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.”
For all the disappointments of club life, he has a renewed love of DJing - “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. George FitzGerald 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.