On a day when hundreds of gigs, tours and festivals were cancelled one after the other as the coronavirus crisis escalated, DIY dance-pop producer Georgia was the epitome of keep calm and carry on last night as she delivered an uplifting ode to hedonism.
For the nervy and slightly sparser crowd in attendance, the rave-like opener 24 Hours brought some much-needed catharsis. “Hey Heaven, let’s go f***ing mad!” the former Brit school attendee and one-time session drummer for Kate Tempest later bellowed, as she sought to reassure. Those in attendance duly obliged, dancing unreservedly in the Eighties- inspired, neon-lit surroundings.
Frequently switching between an electronic drum kit and synths in her minimalistic one-woman stage set-up, Georgia combined pop, electronica and dance to create a futuristic sound somewhere between Robyn and LCD Soundsystem.
About Work The Dancefloor saw Georgia dart between drums, synths and sweaty crowd interactions, all the while maintaining her cool, melodic vocals. Where the set was at its most fierce — the energetic Never Let You Go and bouncy Started Out were good examples — Georgia was freer, often roaring lyrics while encouraging her audience to lose themselves in a moment of shared musical abandon.
The excellent Ray Guns, meanwhile, showcased Georgia’s skills in drawing on a worldwide sound palette, something seemingly influenced by her work with Damon Albarn on the latest Africa Express project. Reminiscent of M.I.A. in delivery and style, it was a standout moment in an impressive set.
There was plenty of trippy escapism too, such as on The Thrill with its gorgeous cascading soundscapes and Hot Chip-leaning rhythms. The closing cover of Kate Bush’s Running Up That Hill was masterful, with heavier synths and trance leanings proving a bold interpretation.
Georgia’s innovative style of rave-pop inspired throughout and brought much joy to an audience desperate for a momentary escape.
