In this interview feature, we get to know the most radicalist up & coming stars on the planet.   

This time it’s producer, songwriter and all-round force of nature Georgia Barnes, better known as simply, Georgia.

Steeped in the London music scene from birth, and later counting herself a session drummer for Kate Tempest, JUCE and Kwes, it was only a matter of time before Barnes turned inward to write the astonishing yet truly peculiar collection of songs that would later form the backbone of 2014’s Come In EP, and her explosive eponymous debut.

It’s an extremely vibrant record, restlessly leaping from idea to idea, genre to genre – a quality that might be succinctly exemplified by the album’s eclectic group of singles which include the Qawwali-sampling future-RnB cut ‘Kombine’; the feral drum circle that is ‘Move Systems’; and the haunting ballad ‘Heart Wrecking Animals’.

To be sure, the stylistic diversity of Georgia reflects a creator with a truly voracious appetite for music the world over (drawing from the likes of Timbaland, M.I.A., Oneohtrix Point Never, The Knife, UK Grime and Pakistani Qawwali in equal measure) but interestingly, and true to Barnes’ roots, it somehow remains a record that could’ve only been forged in the crucible of 21^st Century London.

This year marks Georgia’s triumphant return, and with the inspirational new single ‘Feel It’ in tow, Barnes showcases a kaleidoscopic new sonic palette as well as a palpable sense of confidence. It is at this exciting juncture we caught up with the North-West London talent to talk touring, instrumentation and her new creative direction.

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TMR: What was the most inspiring piece of art/music for you last year?

Georgia: Two things. I saw this incredible free audio-visual exhibition at the temporary Hayward gallery in London, it was called The Infinite Mix. Truly mesmerising pieces of audio-visual works constructed and shown in a really immersive way for the audience. It was pretty inspiring and very thought provoking stuff. Musically, I would have to say the new Bon Iver and Frank Ocean albums, two incredibly inspiring albums for me because they are the perfect blend of electronics and emotive melodies. Great to listen all the way through as well, as albums should be.

TMR: You recently went on tour with the Kills and seem to be rolling straight into another with The Flaming Lips. How do you handle being on tour? Some artists struggle with touring but judging from your Twitter feed it looks like you have a laugh!

Georgia: Haha. Yeah I’m not too fazed by it at all. I really enjoy it and always think how lucky I am to have this opportunity. I mean you never know how long any of it is going to last, so why not make the most out of it. I am also lucky up until this point that whoever we have been on tour with has treated us like family, so it’s a pleasure. Travelling on the same bus as Wayne Coyne has been the best ever, and I feel like I have learnt so much from him, he’s a visionary, a great mentor and the nicest human in the world. I have a best friend for life.

TMR: You play a number of instruments on your records. What’s your favourite and why?

Georgia: Well, aside from playing the drums, I am a real enthusiast for synths. In my production I try to record as much audio as possible and then once that’s in the computer I then manipulate it. But I put a real importance on creating sounds in the synths beforehand, I learnt this from my dad and observing other producers that I like in the studio. I particularly love the OB-6 by Dave Smith and Oberheim, it’s such a versatile keyboard and has such a great sound. It’s my favourite at the moment.



TMR: In the past, your lyrics pointedly explore themes of love, heartbreak and the anxiety in social relationships. Your music has also explored some pretty experimental sounds and I’d say derives a lot of its power from its sonic palette and percussive qualities. Do any of these aspects come before the others in your mind when making music?

Georgia: Not really, I mean my first record had elements of experimenting, and often I would be working very fast on a track and have no pre-constructed ideas, I would be pursuing or developing the aspects your talking about influenced by the moment. It was only tracks like ‘Nothing Solutions’, ‘Heart Wrecking Animals’ and ‘Move Systems’, where I wrote or imagined lyrical ideas before the music. My sonic palette comes from being inspired by other artists’ sounds, also my environment coming from London, where it has this beautiful juxtaposition of industrial meets domestic landscapes, very much influences my production.

TMR: Your last album was very diverse stylistically. There’s almost an anxious energy in the way it leaps between ideas. What do you think brought about this stylistic variety? 

Georgia: I think I was wanting listeners to just get an introduction into my world, perhaps that’s where the variety in sounds came from. I mean, I’m a fan of all types of music and I guess this comes across also in the sounds that I combine. I love Hip-Hop, because it manages to combine genres so well, I think this really influenced me, it excited me listening to Missy Elliott, a track like ‘Get Ur Freak On’ fundamentally a Hip-Hop song, but it has this incredible Indian sample in it which throws the listener into a world of their own, that mix of styles is what drives me. To try and be boundary breaking and not constricted to formats.



TMR: The voice on your new song, ‘Feel It’, comes across as much more assured and empowered than on previous songs (which perhaps explore ideas of confusion and heartbreak in greater detail). The new track and accompanying video come across as a confident, almost defiant new mission statement. How did this change in tone come about?

Georgia: I think as I’ve said my first record was quite experimental, I had to just role with the way I was creating because I had no pre-constructed ideas, well to some extent. The new music I’m writing feels like I’m taking that element but mixing it with an essence of pre-construction, I’ve taken a bit more time in writing the songs before I record them. It’s great for any artist to have a body of work already out there because they can use it as reference, I listen to the old songs and I’m now thinking well I would do this differently and perhaps I need to be more disciplined in the amount of sounds and textures in the production, it’s got to be listenable etc. And I want the voice to be highlighted in the new songs.

TMR: How has the process of creating new music differed since the release of your first album?

Georgia: The process is still the same, I am writing the songs, recording them and producing, but I have been joined in the studio by Sean Oakley, and together we have been able to really step up the production of the new songs. His experience of working with many artists in many recording situations has meant I have been able to acquire a lot more skills in the studio. So that has been amazing.



TMR: It is well noted that you were formerly in the QPR and Arsenal youth football teams, so perhaps this is a leading question, but if you weren’t doing music what would you be doing and why?

Georgia: Haha. Yeah well unfortunately I don’t think I would be in women’s football not sure I would cut it, but if I wasn’t in music I think I would definitely be a chef, I would love to open up my own restaurant someday. I love cooking and am fascinated by the culinary world.

TMR: We’re a blog specializing in new music so are there any up-and-coming artists or bands you’re really enjoying lately? 

Georgia: So recently I have been listening to a DJ/producer Nidia Minaj, she releases her music off a great label called Príncipe, really great beats and tropical vibes. She’s great.

TMR: What does 2017 hold for you? 

Georgia: I am in the studio for the time being, concentrating on the new music and of course playing live.



‘Feel It’ is out now (via independent label vanguard Domino Records) and look out for new music from Georgia in the future!

-Karl Jawara