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Now firmly established on the European and UK festival circuits Hat Fitz and Cara Robinson return to Australia to perform selections off their eagerly awaited and critically acclaimed CD “ Beauty ‘n the Beast” during a series of showcase performances across the country from October to late December.

Anyone who has seen Hat Fitz perform at one of his many festival appearances across Australia know how the big man can stir up an audience. With his wild frantic interpretations of early delta blues classics and self penned songs in tandem and now joined on stage with drummer washboard and whistles not forgetting the soulful syrenings of Ireland born Cara Robinson they are a force to be reckoned with.

Few performers world wide, have been able to match the wild man approach to the delicate art of finger picking perfected by Hat Fitz.

their music is heavily amplified acoustic blues, much of it in the style of blues guitarist from the 20s and 30s. Sometimes in the delicate finger-picking manner of the blues folkies sometimes flat out almost frenzied with growling vocals and driving drums/washboard. If someone gave Charlie Patton an electrified beat up metal body guitar and a jar of slurps this is what it would sound like Hat Fitz is a true home-grown equivalent of someone like RL Burnside or T-Model Ford playing raw and deceptively simple unique music From America’s No 1 Blues publication “Blues Revue” Issue 103, Dec / Jan 2007. [ with a nod to the hypnotic, one chord Hill Country sound ] They have since released their new Album, “Beauty N the Beast which is a generous nod to old time hill music, with their own touch of traditional past experiences.

on the self-released HAT MAN’z on hiz way ! Fitz plays resonator guitar with an insistent groove, growling out the lyrics, while Itchy pounds the skins. The title track, “Black Nite”, and “Hold my hand” lean toward the R.L.Burnside school, while “Foot Dog Rag” and “Freddy Spaghetti” are more delicate. Well-known songs receive imaginative treatments: “Motherless Children” is wobbly and weird, and “Death Letter” races along recklessly.