Reaching the mid-point of her 2020 UK tour, Londoner and synth pop inspired Georgia, focused all eyes onto her futuristic stage set-up. Her pink hexagonally shaped drum kit formed the basis for her one-woman show. As the lights dimmed in the sold-out Brudenell venue, only faint fairy lights strung from the ceiling and a neon light – hexagonal again – encapsulated eyes towards the front. A deep telephone ringing noise spurred confusion amongst the audience, followed by many asking “hello?” A distant voice over proceeded, “have you seen this new craze? Some kind of dance.”
Georgia steps out onto stage and initiates her drum-led set with ’24 hours’. This warm-up beat introduced the crowd into Georgia’s long history of drumming. Strong beats and impressive rhythmic skill dominates the room, her light vocals topping off the 80s dance vibe. ‘Never Let You Go’ kicked the crowd into action, the irresistible pulsing bass drum pushed a dance flow into the room. The backdrop lights flickered and shimmered off the gold background with every hit.
Shifting effortlessly into ‘Ray Guns’, a reggae spirited number with symmetrical rhythmics and a slower, deeper vocal from Georgia. The mellow upbeats integrated a wave-like sway into the crowd. Demonstrating a shuffled setlist of her new album Seeking Thrills, Georgia takes us through her self-produced work in a build up to the hits.
Falling back into the euphonious sigh of ‘Honey Dripping Sky’, the repetition of Georgia’s angelic tone, “for you, I’ll bleed inside” formed an ambience of relaxation. This poured into an instrumental of impressive drumming, the dark red lights moulding her fast-paced percussion into one free movement. An extensive low bass tone, mimicking the suspense created prior to Georgia’s entrance, charged the room. Again, a distant voiceover commenced, “I said do you like to dance? Does it make you feel good?” Then dropping swiftly into ‘About Work the Dancefloor’, her song that received a nomination for NME’s ‘Best Song in the World’ 2020.
Midway through her 80s-club synth track, she stepped out to dance amongst those in the front row, clearly enjoying the bounce of the music as much as her front-row fans. Shifting into ‘Started Out’ – the more widely-recognised track within the crowd – a further singing along and arms flowing with the music continued.
Of course the set finished with a classic encore, ‘you can’t get rid of me yet’ said Georgia driving into the clockwork of her drumsticks against the snare. Concluding with a cover of Kate Bush’s ‘Running up That Hill’, she created a nostalgic close to her performance. Georgia sparked the local crowd back to life, before leaving them on a high of her recreated 80s dance beat.