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.