Fitz is a relatively young band from Belgrade that plays Oi!. They have just released their first full-length LP, which is a good reason to ask a few interesting questions.
Singer Cobe answered our questions, and we talked about where that undying drive to create and leave a mark comes from. About the scene in Serbia, its history and present. How Fitz perceives current events in the scene and how older bands inspired them. About doing things their own way. About what life is like in a subculture in a country that has gone through the hell of war.

Micky Fitz from The Business was an undisputed legend of the skinhead scene, and The Business are absolute pillars of Oi! punk. I’ve personally seen them live several times, and every single show was great; on top of that, they have records that shaped entire generations. Why did you choose the name Fitz when forming the band, and which specific era or albums of The Business had the biggest impact on you? Are they connected to any particular period of your personal life?

Name came naturally, shitload of football and history references were used on the scene globally but there were not one dedicated to one of our biggest Heroes. Micky was and is a huge inspiration. He was a multy layered person and he never went with b&w perspective. He was larger than Life type of person and never gave into passin‘ trends. Like the Business he evolved with time and always came out with fresh and new look on the world we live in.

Can’t pick a specific Business era since all of em rocks! Some you learn to appreciate with time, when Life gets ya and you develope the taste. Early years you kinda know by heart since that’s the Business that got you first by the throat! But like I said there is no BAD BUSINESS ERA – period!

If you go all the way back to the beginning, do you remember the moment when you first felt like part of the punk, skinhead, or hardcore scene? What was the decisive impulse that really pulled you in – a specific band, a concert, a group of people, or was it more of a gradual process?

Lookin‘ back I was hooked immediately from the first gig I attended, first stage dive and seeing crowd going berserk left me hungry for more. It was Overdose gig and I loved em ever since. One gig lead to another and from that point (I was almost 13 years old) going to gigs, and year later playing in a band was my lifelong routine.  Scene on the other hand was not my life  long companion, since it was always changing and was never something unified, but heavily fragmented. I was also evolving and never stayed inside one lil box music and philosophy wise. Music was something that got me moving and groovin‘ and made me wanting to create something of my own, to leave a fucking mark. 

What was growing up in Serbia like from the perspective of music and subculture, especially when it comes to punk, Oi!, and hardcore? Did you already feel back then that you belonged to something alternative, or was it more of a personal escape from the reality around you?

Growing up in Serbia was rough and tough but superfun too. Loads of subcultures and decent crowd on gigs. Sure thing there was always room for improvment and seeing how scenes looked like in EUROPE and States made us yearn for similar shit but we never reached those hights in decades to come. Early 90’s was unreal when you compare situation we have now. We did more with less resources and in a seriously fucked up situation. Also crowd was more hardcore  and tougher than tough, less opinionated. Kinda miss those times. 

I have to admit that I don’t know the Serbian punk, Oi!, or hardcore scene very well. I’m aware of Ritam Nereda, whom I see as a major local Oi! punk legend (probably also due to the time when they emerged). From newer bands, I’ve noticed the excellent street rock’n’roll band Nagön. I also know that a street punk band called Bomber from Novi Sad was active a few years ago, but from what I understand, they’re basically defunct now. Could you introduce the readers to the development of the Serbian scene from its beginnings to the present day and explain what you see as its specific characteristics?

Early Ritam Nereda is great, still like to listen to it. Really heavy Onkelz influenced rockin‘ Oi! Novi Sad had a great second wave of Oi! that left a huge impact on me. Great bands, Blitzkrieg, General, Pure Impact, Jedino rešenje.

Liman (part of Novi Sad with block type of housing you saw in all of the socialist East Europe) felt like a home for me, so it was natural to dig people from that hood and like their bands. Strive for more was also one of my favorite. Distinctive „sad“ guitar themes was a trade mark of the era – we call it Limanska gitara and it will sure give you goosebumps!

Other parts of Serbia brought a different blend of spices for the subculture stew, past and present. Bands that you should check from me neck o the woods are Šaht, living legends active since the late 80’s. Pogonbgd, very productive and my absolute favorite band that I love and charish. Kamene kare, rough and tough street punk,awesome lyirics sang thru the teeth, bites straight into your soul! Napalm job – no bullshit, straight up, „fuck a lot of ya “ type of thug rock.

If you dig HC Nothing Sacred and Statico are doing a cool mix of drivin‘ guitars and fast and furious all hell breaks loose music. Too bad Nagon called it a day, but on the other hand something else came out of it, bass player and a „MAN with a plan“ of the late band got the new band that rocks – SIKK! Bands worth of mention that you’ll probably like if you’re into Serbian scene are Cepeni ćunci, Gavrilo princip, Korozija, DMT, SUS, Ukratko Štef…

Can’t talk about the scene since it never passed the „formative“ illnes. Still fragmented, not in a Real relation with past, more likely built and rebuilt over and over by new generations with „white washed“ imagination of what has been or utter neglect of the „dodgy“ parts of scene history. I see the scene as living organisim with it’s flaws and limitations, runned by real prople with their own faults. Fuck the „ivory tower“ type of shit runned by funds, selfindulged circle jerk political party type of organisation. Better to stop with my rants here, support your friends, fuck the scene!

How did Yugoslavia’s past and the later war affect the functioning of the underground scene in Serbia? Do you think this influence showed itself more in lyrics, in the attitudes of bands, or in the mentality of the people involved in punk and hardcore?

In a creative way we kinda had more productive scene during the hard times. Sure we got more experience with „democracy“ since we had more chance  to play outside of our borders, see more touring bands and with experience we got more skills, fresh perspective on“grass is greener on the other side of Iron curtain“ bullshit, but as a collective we kinda lost the touch – how to get our own perspective.

I don’t want to have a US perspective, I don’t want to sound like a Canadian band! We do live different reality than the rest of „civilised“ world and we had a shitload of scars that reminds us that we had a whole lot of different upbringing unlike our peers that didn’t had the chance to experience war. War is hell, don’t get me wrong, but it kinda gets the best and worst outta man. Apart from the edge that hard times brings, you develop real skills when you have to adapt and improvise. You learn how to appreaciate what you got when there’s no plenty.

Do you perceive differences between the scenes in Belgrade, Novi Sad, and smaller towns, either today or in the past? Was there ever something like a clearly recognizable “local sound” or a specific regional identity?

I recon I kinda gave you glimpse of that local flavour in one od the previous questions. There is more then enough difference in what comes up from north and south, east or west of the country. We miss local diy record labels so that you could get full on experience of local patriotism. When you get your paws on lyric sheet and needle on the groove you get more of a picture than by a click on a digital platform while scrolling through tits ‚n’asses of instagram or whatever consumes your attention!

 

 

How connected was the Serbian scene historically to the outside world – through shows, records, fanzines, or personal contacts? Was the West always an important reference point, or did the scene try to build its own path?

Yugoslavia was pretty much west oriented, it stayed that way even when it disengrated, even with the sanctions and aggressive bombing and anti-Serb propaganda, it stayed that way. Scene was up and runnin‘ in the 80’s, huge shows, touring bands, diy releases…War fucked it all up. We had less connections in 90’s than in 80’s but we had more than few great windows into the world wide scene. Bands were great and it was a great waste that they didn’t had chance to play to crowds abroad.

2000’s saw renesaince of everything, shit loads of gigs and bands. Just a few bands managed to do a decent tours though Unison, Let’s grow and SUS did made some impact and some records did came out in this period and it is a decent testament of the time. After the first impact, scene instead of using this boost to grow and prosper managed to fragment even more and disperse in many super small tribes. Nothing worth of mention apart from local and semi regional success of the bands from this era . But I guess you gotta continue to work your ass off so people would listen, since if you ain’t there for few years your mark kinda fades.

Could you describe the current shape of the punk, Oi!, and hardcore scene in Belgrade – which bands are worth paying attention to today, and what is the overall atmosphere like around shows and events?

Current situation in Belgrade is changing, there is potential to keep things going in a right direction. Indy clubs, shows organised by friends, friendly atmosphere altough you have active footballl supporters rivalry going on. Not an easy task to have a „hippie commune“ thing going on with bunch of thugs involved but it’s working ! Still scenes are mostly separated you don’t have much of mixing going on, not just on a skins and punks and hardcore crowds basis, but also a not so small generation gap is present. Younger crowds go to young bands, old farts go to their own, you don’t see em more than few on upside down scenario.

But I don’t see it all necessary as a bad thing. Keeping things organic and maintainable is way better than having a big crowd without any sort of connection. Bands I mentioned few questions before.

Are there specific clubs, pubs, or underground spaces in Belgrade that are key to the scene, and where would you send a punk, skinhead, or hardcore kid passing through the city who wants to experience the local reality?

I prefer real deal kind of places, where you have a chance to get your ass kicked as much as having the best day of your life. So visiting Zappa bar is a must! URMUS is a place where you can see a proper street punk gigs, Betty Ford and Kontrapunkt are a cool places to get your sonic fix too. Verona is a beer cellar where you can taste many of the local brews. There are loads of places to visit too, but it’s way better to have someone take you there so you could get the right kind of impression.

How does the DIY infrastructure work today – promoters, small labels, fanzines, distribution? Do you think the scene has enough people who actively keep it alive?

Not enough people doin‘ it the right way and there are way too many people using city/government funding or NGO fonds. It’s not a DIY if you got money to do it fucker! Couldn’t care less about those people being fake but they do tend to have holier than thou attitude and are trying to act as a torch beares, Messiah complex and all the shabang. It’s not about how you present your work, it’s about how you do it.

 

 

What are the relationships like between different subcultural currents such as punk, Oi!, hardcore, skinheads, or metal? Do these worlds cooperate, or does each one keep its own separate space?

Not much mixing going on but it’s not all together segregated. There are spaces and bands that are into sharing the stage altough they are totaly into different style of music. Where there’s a will, there’s a way you know! 

How would you compare the strength and vitality of the scene today versus the past? Do you feel it’s a natural decline, or rather a transformation that just looks different than before? Is a new generation growing up, or are the “old dogs” still the ones carrying things, while heavy guitar music, subculture, and street style don’t attract much new blood?

Kinda gave much of the answer in previous lines, I wouldn’t dismiss new generations, as much as I wouldn’t glorify the old. You gotta find the middle ground. Logical thing is that the young ones are gonna inherit the scene, or will build a new one…Either way they are the future. Best scenario would be for them to use much of the resources and knowledge that is out there for taking. Old dogs should do their thing as long as it’s possible and tasteful. It’s a huge turn off to see dudes acting like teens singing about ambushing the rival gang while being a model citizen playing a cosh play skinhead at a local all ages show where most of the crowd is 50+ years old!  

Do you think a new generation of people interested in heavier guitar music and subculture is growing up in Serbia, or is the scene today mainly made up of people who have been active in it for many years?

There is no future if you just rely on old dogs. Youngsters can afford to be foolish,naive and cringy. But they have time on their side to make things right. On the other hand I get an instant scab on my brain when I see old geezers acting stupid and holding on to some kindergarten politics. That shit has no future! Scene was always mix of these two opposites that completes the whole picture. I like to see lil ones on our gigs as much as the old dogs. 

Do you think punk, Oi!, and hardcore still have the potential to speak to young people looking for identity and their own voice, or is this kind of music already too distant from today’s world?

Music can push some buttons, get you going. But main reason kids don’t get involved is if guys doing the music are lame,weak or fake. Not that you gotta jump thru the flames to prove you’re real, but let’s not be nerdy about „street cred“ or how tough you are. It raises some flags for me. I learned a lot from being a father to two teens, and from the young lads that I see in the parks and on the terraces. Can’t bullshit the bullshitter mate, things don’t work that way!

You come from a post-communist country, just like I do. I was born in rigid Czechoslovakia, where pop stars either covered Western pop/rock or rock from Hungary or East Germany. The result is a completely degenerated musical taste, manifested either in utterly stupid mainstream circus pop music or extremely bad rock bands whose work never reaches beyond national borders. When punk and hardcore bands emerged in the late ’70s and early ’80s, they developed their own specific sound, strongly shaped by the DIY approach and a makeshift handling of punk style (both musically and visually). Yugoslavia was more open and larger than Czechoslovakia, but later it was also hit by war. How did today’s alternative music scene in Serbia develop under the influence of history, and are there any specific traits of the local scene? How do you personally see this?

We share the same upbringing brother, and a bit of history. I like to use it as a fuel not just for creating but it’s a manual for survival, how to get by on a daily basis. How to put people in perspective. It’s easier to understand where you stand with idea of what was there before. Not just scene wise, but to understand history, politics and not to be a jackass. It’s case of applied history and sociology mate. We have a bit more to offer than a regular Joe from the west. Some bands get it and use it, other ones just do copy cat shit as their counter parts from the States or UK or wherever. It’s easy to split the two if you have a bit of back bone and grain of salt.

Do you think there is something that could be described as a typically Serbian approach to punk or Oi! punk, whether in the music, the lyrics, or the general attitude toward the world?

Sure thing, like I mentioned above it’s pretty distinctive if you go for our type of street punk. Our football rivalries are fierce, our history is full of fighting the odds, blood and guts! Yet we like the livin‘ it up and singing drunken lullaby’s…you got it from our EP. It’s how we do things around here.  

This question is specifically for Cobe. I found out that in the ’90s you were the singer of the band Austerity. What really caught my attention, though, was that it was supposed to be a krishnacore band. I see this category as a very marginal genre; the only representative I really know is Shelter (and they have several excellent records that I like a lot). How did the teachings of Krishna, combined with hardcore music, hit Belgrade in the ’90s? How did you personally get into the connection between Krishna consciousness and hardcore punk? How did krishnacore function in Belgrade at that time, and was there an actual community around it, or was it more of an isolated phenomenon without broader impact?

Hahahaha yeah I was in a more than few bands in the underground scene. Austerity was a fun thing to do until it ain’t. We were fuckin‘ kids, not to be taken seriously although we were fuckin‘ adamant about our choices of philosophy. Yeah right, now drop and give me twenty you whippersnapper! It’s a twisted and integrated version of an ancient philosophy packed in a way that alienated yet privileged subculture kids can get some idea of spirituality. But dude, as soon as I dug deeper it was all loosely goosey not for me.

Being a drug free at a point of life when you can take your life down the drain in a blink of an eye is a good life choice that I’m totally down for. Au contraire being in a celibate every time you get a rebound is a recipe for blue balls!

Did this experience influence your later involvement in music in any way – in terms of lyrics, ethics, or your personal approach to the band and the scene?

Yes and no, I was in a band before Austerity, and in more than few after. Being part of hardcore scene kick-started my involvement in music not just being in one band. Those first steps I learned made me a dancer forever. Also being part of writer (graffiti) scene and being active on FC Partizan’s South did help a lot in the process.

You’ve released two recordings so far. The first is the Breakthrough EP with four tracks, and the second is the album Absolution with eight songs. How do you write your material? Is it more of a collective grind in the rehearsal room, or is there someone who sets the direction, comes up with the core ideas, and pushes the others into action?

It’s a job for Sale – guitar player and songwriter and me as a lyricist and a bit of producer mostly. Miki and Beli do help with ideas here and there, but it’s easier to do it as just a two guys – pilot/copilot kind of thing. Rest of the Fitz have faith in what we come up with and support our decisions. As a creative duo we can brainstorm faster and since we’re on a same page with ideas it’s a smooth sailing. Process sometimes is just a demo recorded of idea that Sale came up with and sent to me asap to get the lyrics. Or it’s me sending the idea to Sale with lyrics so he can get the riffs and themes to it. Third option is used rarely but it happens too, we start jamming some riffs on rehearsal and all of us get something done. It’s super fun!

Do lyrics or music come first for you, and does this approach change over time as the band develops?

Lyrics tend to change if it’s needed to fit the music, rarely I wrote em in a way of poem so the music gotta work its way to fit the lyrics. No great ego battles in Fitz, everything is there to support our one and only idea – to rock out with our cocks out and have fun! 

What themes are essential for Fitz, and on the other hand, what are topics you consciously avoid because they don’t resonate with you on a human or ideological level?

Tough one! I don’t like to sound like smart ass since being the brainiac can earn you a decent ass kicking around here. Yellin‘ slogans is for the idiots. Being political is not something to brag about, and being a living, breathing human should grant you the right to change your mind and learn new stuff till the day you die innit?

So waving a flag and holding banners is not something I see myself doin‘. Picking sides?! hey fucker I come from Serbia we don’t work well with sides. Most of the times we’re on our own fighting against everyone, why would I change now?! I don’t play the dichotomy of false choices. I tend to have my own perspective and I like to express my right to have unpopular opinion. We fear no one but the God above, period! Guess this sums it all.

Are there things about Oi!, punk, or hardcore bands that have long irritated you – for example lyrical clichés, poses, or a superficial approach to subculture?

Kindergarten politics, virtue signaling, boot this, boot that, singing about violence while being a stuck up wuss, singing about popular themes that you don’t know shit about…What gets on my nerves even more is when bands that don’t know shit about what they’re singing about get recognition from the crowds that don’t know shit about what the fakers sing about. It’s a never ending cycle of bullshit circus on repeat with Oi! Oi! shouts every now and then.

How important is authenticity to you, and where do you personally draw the line between respect for tradition and simply copying the past?

I like old bands more than the new ones, but I support actual ones since it’s what scene is all about. You can’t live of the memories. On the other hand creating something authentic is what I value the most. Bush era US bands that I really dig didn’t inspire me to sing about my government in a way they sang about theirs, it’s a whole different league. But I can sing about derby days Yankees can only dream about for example.

Capture the emotion, don’t copy the subject.

Which bands shaped you the most in the beginning, and which ones inspire you today, whether we’re talking about old classics or the current scene?

Judge, YOT, Circle Jerks, Social Distortion, Blitz, Business, 4Skins, The Crack, Cock Sparrer, Professionals, Roze poze , Combat 84, The Jam, Partibrejkers, Gene Vincent, Otis Redding, Madness…New bands I like to listen but the old ones are inspiration!

What personally drew you specifically to Oi! punk, and how does this genre differ for you from other forms of punk or hardcore?

Mid tempo songs and terrace style chants and singalongs. Don’t have that much in hardcore. Also Oi! is much closer to R’N’R which is the core of all punk based derivates. Going back to roots, when ever you’re in doubt just reach for the basics, it helps!

Do you think older bands (4 Skins, The Business, etc.) still have something to say with their music and lyrics to today’s generation of teenage troublemakers, or is it necessary to look for new forms of expression for rebellious youth?

Old bands are the Gospel ! Always fresh! If there’s a rose in the new generation it will blossom. Simple as that!

Which bands or records would you name today as your personal favorites, both from the past and from current releases?

I mentioned that I’m a sucker for old bands, but lemme get some credit to the current ones. First of all I like what Savage beat is doing, it’s a boogielicious mix of everything that rockin‘ and rollin‘ should be! Driving and raunchy guitars, kick ass performance, awesome frontman!

Sympos and Rancoeur are making their mark, so glad that I know em in person since putting a friendly face to an outstanding musicianship is a huge plus for me.

Would like to see Wired up! since their singer is a great dude and I like how they roll. RMBLR are also on my bucket list. Great band would like to see em live!

When you play shows abroad, how do you perceive the differences between the Serbian scene and other countries in Europe? I’m interested in your experiences and comparisons with places where you’ve had the chance to play – in terms of audience support, organization, atmosphere, enthusiasm, and attitudes toward subculture. Is there any country or city where you felt especially at home, and on the other hand, a place that surprised you strongly, either positively or negatively?

I’m gonna merge these two questions into one since I’m an unofficial ambassador of Fatela. Warmest welcome we got was in Portugal, Fatela Sonica festival feels like home. Punk village with awesome tradition,culture and food. Warm blooded people and so much stuff similar to Serbia. Lotsa Latinos there too which is a huge plus since you get even more warm blooded folks that like to party like we do. West is a bit colder but we’re working towards changing that. 

How do you think the audience’s approach to underground music is connected to the broader culture and social environment of individual countries?

More or less it’s the same everywhere you go, that kinda scares me since it shows that globalisation is heavily taking it’s toll. I like to see local scenes more affected with local cultures, addressing local problems, acting toward local changes rather than signaling virtue with typical „solidarity with…“ slogans and doing nothing.

Puttin‘ a slogan on t-shirt, stickers on a doors of piss filled toilets doesn’t change anything! Grow the fuck up people!

 

 

How did the cooperation with Lionheart Records come about, and what does this label mean for you in terms of the band’s functioning and its future?

Friend of mine Oliver an unofficial PR of Fitz heard our demo and loved it. He sent it to Lionheart and that was it. We had card blanche in terms that we could do anything since the Breakthrough was so good to them. This sort of arrangement gave us wings and we were working on our songs with sheer determination. It’s a great label and we like working with ‚em. 

What are your next plans, whether it’s new recordings, shows, or ambitions at home and outside of Serbia?

It’s the beginning of ’26 and first stop for us is two gigs in North Italy. After that, in March, a few gigs in Serbia with One Voice. We tend to bring our friends to our hometown to experience local brews and cuisine along with our culture! Ask the lovely lads of Rancœur about the gigs we did for them – ’twas a great time!

Working on new songs and recording new material in the spring. Lil’ blitzkrieg tour in Spain in June and hopefully back to Fatela Sónica in September. That’s it for now. Hit us up if you wanna see us in your neck of the woods.

What does it personally mean to you today to be part of the punk, Oi!, or skinhead scene, and has that feeling changed compared to when you first started?

Bit easier to do things now. Crew’s tight, we have our place under the sun, a studio to create…something we could only dream of ages ago. Along the road whole world changed a lot so it’s not just me being grumpy and disillusioned about shitload of things that mattered when I was younger. But that’s how life goes you win some you loose some.

If you had to describe Fitz in one sentence to someone who has never heard of you, what would that sentence be and what should it capture?

We’re fierce, simple and down to earth Oi! 

How is your footwork? Does anyone in the band practice boxing or other combat sports? Or do you prefer old-school fistfights in a pub environment, without changing clothes?

Footwork’s fine as wine mate! We do try to stay in shape, at least three of us. I go occasionally in a local box club for a bit of training and working on technique. Used to be more involved in fighting now-days not so much. I prefer urban ruckus in pubs and in the street more than woods and meadows.

 

 

The last word is yours – is there anything I didn’t ask about that you’d like to add?

Thank you for a lengthy interview it sure took more than few days to answer to all of your questions but it was a bitter sweet pleasure, and I hope I helped y’all to get some insights on how we roll! Hope to catch you somewhere along the way mate and you’re always welcome to swing by and experience Belgrade the way we see it. Keep on keepin‘ on! Cheers!

DISCOGRAPHY:

Breakthrough EP (Lionheart Records, 2025)
Absolution LP (Lionheart Records, 2025)

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