Saturday, February 3rd • Bar opens 8PM, Green Room 9PM, Club 10PM.
Advance Tix on sale Tuesday, 12/26, at 12PM.
George FitzGerald ( Domino, Double Six | UK )
Philip Goyette ( Flash, ESL | DC )
Hugo Zapata ( Brutal Disco, Prescription | DC )
Samantha Francesca ( Sticky Fingers Collective | DC )
Flash Bar: Jive 100
DJ Eli Cash ( Weelhous, Sous La Terre | DC )
James CC ( DC )
Mike Harvey ( DC )
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.
Renting a studio in Ibiza while there for some gigs in summer 2013, George began to feel increasingly alienated from the party excesses and one-dimensional EDM records he was hearing. “Everyone does a pill and is in love when the record about 'love from above' comes on,” he says. “Then they just go home and real life resumes. For me at the time, my long-term relationship was falling apart with being on the road constantly and it didn’t feel right to keep writing music about those themes in an emotionally simplistic or escapist way. So without sounding too pretentious, the title of the album Fading Love relates to my dwindling enthusiasm for music that ignored the things going on in my life, and documents the disintegration of my own romantic relationship at the time.”
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.