Mr Billy Fitzgerald Release Debut Album ‘A Grand Romantic Gesture’ (Irish Indie-Pop)
Mr Billy Fitzgerald is a Dublin based solo artist writing lush indie-pop songs that simultaneously bathe in the faded light of heartbreak while pulling you on to the dancefloor. Formerly of Dublin alt-popsters The Dead Flags, when that band came to an end Billy made the conscious decision to take a step away from music. After his self-imposed exile and following a long journey back, Billy gathered his array of drum machines, synths, a half-broken Micro Korg along with his acoustic guitar and an assortment of pedals and amps. This became the sonic palette he would use to begin crafting his new indie-pop sound, leaning into 80’s inspired sounds that rubbed shoulders with hip-hop tempos while juxtaposing the pain of heartbreak against sweet pop-centric vocal melodies.
Billy spent 2024 releasing a number of well received singles as well as new single ‘Let Us Be’, released January 2025, which leaned more heavily into his 80’s influences, from the hip-sway Phil Collins-esque rhythms to the soaring pop vocal that comes screaming out the speakers. These releases caught the sharpened ears of XSNoize, Hot Press, Turn Up The Volume, Ragged Cast, Rock N Load, The Beat.ie and RTE2XM.
He now returns with his largest body of work to date, his debut album, ‘A Grand Romantic Gesture’. The title is representative of the story being told across the 10 songs. The album documents the experiences of a protagonist who has spent years in unlucky or poorly handled romantic entanglements, failing to learn from these then struggling to win over new romantic partners without ever addressing their own shortcomings. Prioritising the romantic gesture over the honesty and work that go into a proper relationship. Immature and idealistic, he wants to win somebody over rather than be vulnerable or honest. This image of a guy trying to find the right symbolic gesture rather than looking inward stuck with Billy and became the narrative of the album.
This magnus opus of failed loves opens with prophetic ‘All Fucked Up Now’, released as the first single off the album, Billy wasn’t surprised when it wasn’t picked up by radio… The track features two of the albums first collaborations; Shaool of Sligo based hip-hop group This Side Up on additional vocals. This is alongside Billy’s Dad playing one of rock and pops lesser heard instruments, the tuba, which opens the track and punctuates throughout, while an omnipresent cowbell offers a rhythmic counterpoint. Having his Dad on the album was something Billy wanted from the outset so having him be a part of his flag in the moon moment seemed fitting. Shaool brought his vocal talents bringing a particular poignant verse to the track. A line in the sand between Billy’s old and new sound was drawn.
Recent single, ‘Let Us Be’, which became the centrepiece of the album and showcases another side of Billy’s songwriting. A darker sound that leans more heavily into his 80’s influences, from the hip-sway Phil Collins-esque rhythms to the soaring pop vocal that comes screaming out the speakers. Lyrically the track explores the theme of being with someone when everyone else thinks it’s a bad idea. ‘Let Us Be’ features two key collaborations. Sam Jackson (not that one) is a classical/jazz pianist as well as producer and close friend of Billy’s. The second, collaborator is Billy’s drummer, Dennis. A huge Phil Collins fan, this led to 80’s gated-reverb drum sound on the track.
‘Gimme Love’, a track that owes as much to Destiny’s Child as it does to a life crippling heartbreak. This lush pop production is a bed of roses that only serve to cover the thorns. Juxtaposing saccharine pop melody against a soul-cry of just wanting to be loved only serves to further accentuate the light and dark of each element. Billy is solely responsible for the writing, recording, production and mixing of the album. Which speaks to what a personal project this is. But when it came to outsourcing mastering, Billy turned to Abbey Road to add the final sparkle to his tracks.
Mr Billy Fitzgerald ‘A Grand Romantic Gesture’ (Spotify Album Link)
One of the first tracks written for the album, ‘Go It Alone’ feels like a song for after dark. The slow groove and dark swells from the synth give the track a different vibe entirely to what has come before. There’s an almost 70’s funk or go-go feel to the groove. Leading into the middle we get treated to a chorus of Billy’s, that showcases what a fantastic voice he has. Theres such a wealth of sounds peppered across the album, the oscillating synth that joins towards the end is just one many pieces of ear candy that wouldn’t ever seem an obvious but become central to the track and Billy’s sound. Billy says this was his attempt to write a non-rock song, and in doing so acts as a palette cleanser before the second act of the album.
After the finality of ‘Go It Alone’, Billy comes screaming back the ever-optimistic potential suitor on ‘Gimme a Chance’. The track was born out of one the ‘happy accidents’ that often occur during recording. After ad-libbing the melody of ohs that open the track, these gave way to more vamps and alternates which then formed the middle of the track. This is quintessential Mr Billy Fitzgerald.
‘Old Loves’. A song almost two decades in the making that explores the dangerous nostalgia in looking back through rose tinted glasses at past romances. Drawing inspiration from touchstones Beck, Flaming Lips and Eels. As the track opens with Billy’s signature luxuriant vocals, over an insistent drum machine and a scratchy guitar track that adds texture and drive to the track, he casts himself back to being 15. There’s almost a country storytelling, confessional quality to the lyrics. Not afraid to put himself on the line, this vulnerable honesty is engaging and refreshing, not shielding himself behind metaphor or poetic device.
Mined from his days in the Dead Flags, ‘Work For It’ is a love song via Stockholm syndrome. Billy’s juxtaposition of an upbeat bouncy 80’s pop track against being made to feel like everything’s your fault when you’re the one hurting is classic Mr Billy Fitzgerald. Sugar coating a hard to swallow pill. All under pinned by an acoustic guitar through a fuzz pedal! Another example of the unconstrained nature of how Billy approaches song writing and production. There’s something cinematic about this track, the awaiting soundtrack to a particular manic montage. Billy says that he obsesses over how track 7 on an album tends to be a supercharged energetic track so this was an obvious choice, it also acts at the gateway to the final act of the album.
One of the first songs intentionally written for the album ‘You Had Your Chance’ opens as a somewhat more sombre affair than track 7 bombast of ‘Work For It’. Acting as a sister-song to ‘Gimme Love’, Billy tackles the same facet of enduring a vicious break up, wading through the emotional carnage that accompanies it and coming out the other side. Throughout the album there are swathes of RnB and soul, and on ‘You Had Your Chance’ Billy fully leans into it. Moving from the raw emotion ala Marvin Gaye in the beginning into a Curtis Mayfield groove and percussion in the second half. Despite the seriousness of the track Billy can’t help quoting Tim Burton’s Batman in the track. Another little easter egg for the listener.
The album up until this point has been about heart-break, rejection and unrequited love, on ‘Lovers’ finally Billy lets the light in, which in true Mr Billy Fitzgerald fashion is one of the more down tempo tracks on the album. Written for his wife, the song is written from the perspective of being in the twilight years of life and looking back at the most meaningful relationship in his life. Reflecting on what they meant to each other and how no mortal coil will separate them. It’s emotional and heart wrenching and manages to avoid the sickening sweetness of a lot of positive love songs. The production on the track supports the emotional outpouring and helps add depth to his already laden lyrics.
Billy says that album closer, ‘Six II Midnight’, was initially crafted as a song to blast out of the stereo when you cruise around town. Much in the vein of Mark Morrison classic ‘Return of the Mack’. Musically, the track cultivates a cruising low and slow, dusk in the city feel. The ‘that boy’ line we hear throughout was one of the studios happy accidents that helped cement the vibe of the song. Halfway through a change of pace morphs the low and slow groove to a drinks in the air party. All without turning into some lowest common denominator Black Eyed Peas type track. It’s all vibe and it feels authentic, accentuated by the very Snoop Doggish synth towards the end. A fantastic closer to an album that has already taken us down numerous musical avenues.
‘A Grand Romantic Gesture’ achieves so much over its 10 tracks. The album offers emotional depth, reflection, acceptance and at times denial. Billy’s willingness to be vulnerable and to mine personal experience gives the album a lot of heart, nothing feels vacuous, hollow or for show. I can’t imagine some of these songs are easy to sing live. This emotional exorcism while lyrically direct is often set against a backdrop of an 80’s drum machine, rain splatter synth, raw acoustic guitar and let’s not forget, the tuba. Dark and light is a common theme across the album. Billy’s songwriting ability and level of musicianship is astonishing. Vocals come front and centre of the album, melodies, harmonies and hooks are abundant, but the music is varied, confident and catchy. The focus and drive to write, record, play, produce and mix and entire album yourself is something to hail in and of itself. This singular vision and delivery have given us one of Ireland’s most exciting voices and one that doesn’t blend in against whatever wave is popular. Instead, we hear belief, and confidence in his voice and his sound, which is the only real currency true artists have to offer.
The album is out February 20th which includes a limited edition vinyl pressing.