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Three words best describe up and coming dance music superstar James fRew - One. To. Watch.

With an undeniable talent and an international reputation most producers would kill for, the bearded wonder with the cheeky smile has been turning all the right heads for some time now. With a style that’s best described as classic big room house, and yet distinctly his own, fRew has carved a place in the big bad world of dance music.

Producing from his studio on Sydney’s Northern Beaches, fRew spent over five years honing his craft at home and abroad before the release of his epic first single, ‘Shake With It.’ Snapped up by Vacation Records, arguably one of dance music’s coolest and most highly regarded labels, the buzz surrounding ‘Shake With It’ was intense, and saw fRew immediately booked for a series of hot DJ gigs.

Keeping himself busy while he worked on his next original monster, fRew churned out remixes of Vacation chief and personal mentor Bass Kleph’s ‘Coup D’etat’ and ‘Bump Uglies,’ The Shopliftas’ ‘Freak Out’ and former 1200 Techniques frontman N’fa’s ‘Get Doh.’ fRew’s mix of ‘Get Doh’ reached an incredible number five on the Beatport electro house chart, alongside serious airtime from the tastemakers at Triple J, not to mention the man himself, Fedde Le Grand. Dropping ‘Get Doh’ in front of 65,000 clubbers on the main stage at Mysteryland, it wasn’t Detroit that they were putting their hands up for...

Next came ‘Call of the Crow’, beyond original in all senses of the word and met with rapturous praise from industry luminaries such as Mickey Slim (“JEEEEEEEEEESUS!!! Another fuckin’ bomb! I love it!”), Laurent Garnier (“This sounds fucked up and nasty! This thing destroys every dance floor it comes into contact with!”) and Australian Ministry of Sound head honcho Tim McGee (“Me likey.”)

The momentum was building, and fRew kept it rolling with the ‘Bermuda Nights’ collaboration with The Shopliftas that earned him the title of Producer of the Month in UK dance music bible, Mixmag. Much loved for its atmospheric elements and signature Sydney sound, ‘Bermuda Nights’ is best described by the always tactful Stupid Fresh lads; “Fuck Barry White, this is music to sex your lady to.” Indeed.

Meanwhile, in a dark club not too far from here, fRew met and befriended fellow Sydneysider Tommy Trash, finding a personal and professional kindred spirit. The boys collaborated on a remix of Karton’s ‘Never Too Late,’ earning massive props from the likes of Dopamine and Aston Shuffle while sitting pretty in the record bags of Ibiza stalwarts Ferry Corsten, Judge Jules and Sarah Main. fRew also put his own spin on Tommy’s ‘Let Me Love You,’ which went on to sell as impressively as the original on Beatport.

Finishing 2008 with a further three originals - ‘Fixed Mind,’ ‘I Got Something’ and ‘Deep Love,’ plus a Spinout Records UK release of Kamuki’s ‘Yo Japan,’ a twist on Nick Supply and NFA’s ‘She Rock N Roll’ and collaborations with Jimmy Vallance (‘Hold On’) and The Cut / Tydi, fRew has been one very busy beaver indeed.

When not in the studio, fRew can be found demanding attention from behind the decks of Australia, NZ's & Tokyo’s hottest clubs, including Bayside, Chinese Laundry, Empire, Moulin Rouge, Code, YU, Lady Lux, Ambar. Demanding is no overstatement - from unflinching eye contact, custom intros and exclusive material to cutting the music, grabbing the mic and screaming for his crowd to make some noise, fRew ensures that he whips each and every crowd into a serious frenzy.

Perhaps four words would be more apt to describe fRew after all - One. To. Watch. Now.

To book some fRew magic at your club, contact dayna@jammusic.com.au