Billy Fuller

Billy Fuller announces his first live shows in support of his debut solo record. Tickets go
onsale on Thursday 2nd at 10am.
Fragments will be out on 3rd April 2026 via Invada Records.

Billy Fuller is best known as the founding member, song writer and bass player in the band
Beak>. For the last 16 years he and his bandmates Geoff Barrow, Will Young (and before that
Matt Williams) have released 4 albums, many standalone singles, EP's and soundtracks with
Fuller's bass always the initiating force in their compositions, lending Beak> its signature sound
as always being built from the bass guitar. On Beak>'s last album (>>>>), Fuller also got more
involved with the lyric writing on the album.

But aside from that, Fuller has been a participant on many other different projects along the
way. He began his 17-year tenure as Robert Plant's bassist in 2003 and has subsequently
been a co-writer on 3 of Robert Plant's albums - Mighty Rearranger, Lullaby The Ceaseless
Roar and Carry Fire.
In 2010 Fuller was the bass player on Massive Attack's Heligoland album, with his bass driving
the lead song 'Paradise Circus' among many others on that album. Walking into the studio, all
he found was a drum beat to play to, and the song was built off one of several basslines he
improvised that day.
Fuller has also played on 4 of Baxter Dury's albums, Happy Soup, Prince of Tears (playing the
bass anthem 'Miami'), I Thought I Was Better Than You and 2025's Allbarone.
Other notable acts who Fuller has played bass for are Alicia Keys, Billy Nomates, Rachid Taha,
Anika, Lucrecia Dalt, Tottenham Hotspur FC (!) and many others.

Fragments is moody, immersive, and utterly unbound. Across the album, kosmiche-inflected,
hauntological electronica plays freely with melody, finding emotional resonance for our
unpredictable times. Neu-esque repetitions and motorik grooves pulse beneath skewed electro
textures, and occasional spoken-word passages drift in and out like transmissions from an
unknown broadcast. Occasional flashes of psychedelic prog guitar cut through hazy
atmospheres, edging the sound further toward Fuller's own kind of hypnagogic pop, that is
strange yet deeply human.
Although this is a solo album, it's not a solo album in the traditional sense of representing an
artist's thoughts and feelings during a particular time frame. Instead, Fuller's album is a peek
into the world of a restless creative who is always churning away. "I'm in my studio right now!"
He says, "I'm making music like I always do. I have no idea who or what it's for, like always."
This is a record that spans time as it collects fragments of Billy creating alone in his home
studio over the last few years. Through listening, one gets the impression of art that sometimes
has a vision in mind, and is sometimes just the product of someone enjoying the process of
creating in the moment.
All of these pieces have lain, forgotten and dormant, until now.