Words by Angelika May
Kitty Fitz is the self-professed “shortest member” of Prima Queen, but by no means any less mighty. A talented bass player, producer and now singer/songwriter in the midst of her solo career, and with the release of her first E.P 'All My Own Stunt's out now, Kitty is one to watch. Her spunky, alt-pop sound paired with kitschy videos and lyrics full of romance is fun and uplifting. I sat down with Kitty to discuss the taboos of pop music and being a sensitive soul.
Congratulations on the release of “Malibu”, how do you feel?
Kitty Fitz - A lot of mixed feelings, it’s been a different type of nervousness releasing “Malibu” because it’s such an old song. I’m glad it’s being released but it does also remind me of everything that was going on in my life when I wrote it.
What was going on for you then?
KF - I remember listening to “Pictures of You” by The Cure and going through a box of photos from a past relationship. Even though I knew I should have ended it, the photos were from really nice holidays and I started to romanticise how it was. It’s important that I reminded myself that I was building up an idealised view from memories.
I loved your music video for “I Want Your Love (Oh My God!)”, it’s so fun and kitsch. Do you have any ideas for the “Malibu” video?
KF - I thought it could be fun to do a video at Brockwell lido dressed as if it’s blazing heat, but it’s actually awful because we live in London. I thought it could be a nice juxtaposition, you know showing off and having a good time when really I’m not. Also, I’ve never even been to Malibu, so it would have to reflect my actual life.
Starting out as a session bassist, you must have a large category of genres you’re well versed in playing. What drew you to the alt-pop genre?
KF - Growing up, “pop” was a bit of a swear word. My older brothers, who were very pretentious about the indie-rock genre, would tell me that pop isn’t music. The closest that I got to listen to pop music was New Order and Depeche Mode, having that taboo around it for so many years really ignited some inspiration. When I became a teenager, I decided for myself that pop music is good and it liking it was a form of rebellion for me. Pop is also very fun to produce, it’s practical too. When I first started producing it was lockdown, I wasn’t able to get into a “proper” studio and it was easier to execute at home.
"You should just live shamelessly and do whatever you want because no one cares and nothing matters."
You have your first EP out on the 20th of April. What’s your favourite track?
KF - I go through phases with each of them, there’s one that is very minimal and “cutesy” and quite “synthy”. It’s a love song, it’s very obviously a love song not shrouded by metaphors or anything like that. I’m interested to see what people think of it because it’s very saccharine.
You produce your own music, do you ever battle between creatively what you want to achieve and logically knowing what your limits are production-wise?
KF - It’s a weird one because the way I produce, I don’t add parts and then step away for a while and then add more. The way I work is that I will have an idea of a sound in my head, but physically I don’t know how to achieve it because I don’t know the terminology and I can’t phrase it to someone. Often when I produce, typically it’s me being a “gremlin” for days, hunched over my computer trying to figure out how to make a snare sound “like this but backwards”. I think at some point I just have to walk away from it because it will almost never sound like I intended it to in my head. I really enjoy producing, I started learning when I was thirteen, my brother showed me how to use Ableton and I just immersed myself in it. I wanted to write music for a while, but as someone who was just playing bass and producing I was under the impression that no one would care what the bass player had to say for themselves. Then lockdown happened, which changed my entire perspective on the situation, I just didn’t care anymore what people thought. Also because it was lockdown, I wasn’t seeing anyone so there wasn’t that embarrassment, I could just release songs online and maybe my three friends will listen to them. That didn’t turn out to be the case and it was a super positive and unexpected outcome.
How do you find the difference between working collaboratively with Prima Queen and working independently for your solo stuff?
KF - It’s a funny one, in Prima Queen me and the drummer write our own parts, we constantly give suggestions and work things out together. I cannot physically work with anyone else on my solo stuff. Not a “diva” way, it’s more just like a mixture of feeling really self-conscious about my work when it’s still in its process and being really precious about it too.
What are you reading at the moment?
KF - “All About Love” by Bell Hooks, I started crying whilst i was reading this on the plane. I’m quite a sensitive soul and it was hitting a little bit too hard so I had to put it away. I am really enjoying it though, I think it’ll be really inspiring for whatever I do next.
Do you find it cathartic to get your feelings out through songwriting?
KF - I almost wish that I couldn’t, or that it wasn’t a process because everyone I’ve written a song about just knows it’s about them, which is just the worst. I often don’t realise I feel a certain kind of way until I’ve written about it and realised that’s how I felt about a specific situation. It’s good to tie it up with a ribbon and release it, when I haven’t released something it often feels like I’m just dwelling
What is something you would say to your younger self?
KF - It’s very cliche but I took everything really seriously when I was young and I was really hard on myself. I guess I wish the younger me could see how shameless I am at this point, not shameless but I don’t care as much. Someone gave me some really good advice which is essentially, everyone is incredibly selfish, which means everyone constantly focuses on what they’re doing and how they’re being perceived. So you should just live shamelessly and do whatever you want because no one cares and nothing matters.
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Live Dates
22nd April – The George Tavern – London
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