The Independent Georgia Fields
Photo Credit : WILK
The 10th of July sees the official release of Georgia Fields latest single ‘Holding My Hands Out’ and its a song she is incredibly proud of writing. Penned between the birth of her son, and the lockdowns in Melbourne, this songs represents two chapters in the life of Georgia Fields and all the parts in between. The independent singer/songwriter/musician is hoping to tour later in the year, which isn’t an easy thing to accomplish as an indie artist, let alone one that has a young family at home. We asked Georgia about touring, her forthcoming album ‘Hiraeth’ due out in November, and the importance of funding for independent artists.
For those that haven’t heard your music before , how do you describe your sound?
Melodic, story-driven pop with an arty bent… Sharon van Etten meets Pet Sounds meets The Spice Girls.
You have just released 'Holding My Hands Out', tell us about your new song? What does the song mean to you?
‘Holding My Hands Out’ is about the primal urge to be held – it’s about reaching for comfort but grasping at shadows. I began writing it just after my son was born, during a particularly vulnerable passage of time, and finished it during the Melbourne lockdowns (enough said!). Producer Josh Barber and I had a lot of fun crafting the “snare” sample by layering vintage wind-up toys and half-broken wooden percussion – I wanted there to be a real juxtaposition between a gritty drum sound and dreamy, ethereal strings.
You have also released an accompanying Video for 'Holding My Hands Out' Who came up with the concept for the video? Were there any memorable moments during the making of it?
Well, I didn’t have to eat any moths, if that’s what you’re asking! This was the eleventh video I’ve worked on with filmmaker Rohan Spong – and it’s my favourite work we’ve done to date. Rohan and I have been collaborating since my first album, when we were both “babies”. For ‘Holding My Hands Out’, we wanted to play with light, colour and shadow, referencing the lyrics ‘you move like a shadow’. Rohan had this idea that I could cough up moths, and they would swarm above me like a cloud of unspoken menace. I loved this because moths represent transformation and rebirth, but also disguise, our hidden nature, and the night – the realm of the subconscious. To create that feeling of the internal landscape (similar to The Void in TV show Stranger Things), we filmed in the cyclorama and black room at DCF Studios in Thornbury. Rohan, who is a literal genius, animated the CGI moths in post-production.
“On my first day, a golden-brown hare lolloped out from behind a rose bush. It was like recording in a postcard.”
Your third album, Hiraeth is due out in November, what can fans expect from the new release?
The album takes its title from a Welsh word with no direct translation. A mixture of nostalgia, homesickness and longing, Hiraeth (pronounced “hee-raith”) can also be understood as the grief for the lost places of your past; a profound yearning for a home you can’t return to, as it no longer exists. So there are songs about my childhood, about my experience becoming a mother, about death and loss… And also some straight-up love songs!
I collaborated with producer/drummer/multi-instrumentalist Josh Barber (Gretta Ray; Gotye) – and we recorded in a converted 1930s church hall at the back of Josh’s property, in the tiny farming village of Mollongghip, Victoria. You’d step out of the vocal booth and there’d be cows looking at you from across the paddock. On my first day, a golden-brown hare lolloped out from behind a rose bush. It was like recording in a postcard.
Josh and I played almost all the instruments across the album, with Jules Pascoe (Jazz Party; Husky) contributing bass guitar, and my string quartet joining for one day. Because we were working out of Josh’s workspace (rather than hiring an external studio), we had daily access to his entire cache of drum sets and percussion. I think that gave Josh and I the headspace to be really creative with sounds, and to take our time experimenting.
Are there plans to tour for the album?
It is on the cards, yes. Touring as an indie when you have a small family at home is a bit of a logistical challenge, but it’s been so long since I played beyond Melbourne and I’m keen (I’d almost say “desperate”!) to reconnect with my audience and make some new friends on the road.
What's your favourite and least favourite thing about touring and being on the road?
My favourite things about touring are: Performing for new audiences and meeting them after the show; Getting to meet interstate artists in person, who I might have only previously known via social media; Rural opp shopping; Getting a full night’s sleep (no toddler jumping into my bed at 3am – I mean, if that happened on tour, I’d be REALLY concerned). I have no “least favourite thing” about touring.
“When I was younger I thought that was just what everyone did with their family, singing harmonies and playing Beatles songs around the piano”
You play a variety of instruments including Guitar and Keyboard. How did you get your start in music?
My parents are musicians, my Nana played jazz piano, all my cousin’s played or sang – so we just grew up playing together as a family. When I was younger I thought that was just what everyone did with their family, singing harmonies and playing Beatles songs around the piano. It wasn’t until I was a teenager and started spending time with my friends’ families that I was like, “Huh. We’re weirdos”.
Where was your first gig? Was it a success or flop?
The first few gigs I did performing my original songs were so electrifyingly scary and exciting – the memories are blurred by the nerves and performance anxiety. I can’t remember a “first gig” – I know I enjoyed them, but I did have shocking stage fright, for years and years! But if I think back to my earliest performance memory, it was my piano recital (aged 8). I remember the piano stool felt weird, and I readjusted the distance between the stool and the piano a few times before I began playing. At the time I remember worrying that I was taking too long to get started, but afterwards my Dad told me how much he admired me for taking my time to settle in and get comfortable. That stuck with me.
What was the First album or song you remember buying?
I bought a single – “Even When I’m Sleeping” by Leonardo’s Bride. Abby Dobson is still one of my all-time favourite vocalists, EVER. Fun fact, she also happens to be friends with my husband, who is also a musician. When I was heavily pregnant with my first daughter, Abby came over to our house to rehearse with Matty for a gig… I remember it was the middle of Summer, swelteringly hot. I had a bath and took an entire block of dark chocolate in here, listening to the sound of Abby’s voice floating down the hallway. In that moment I felt incredibly lucky to be a musician, and to have such beautiful musicians in my life – and in my baby’s life.
“If I wasn’t making music, I would probably be a writer. You know, another safe career choice with a reliable income stream!”
If you weren’t a musician what else would you be doing now?
If I wasn’t making music, I would probably be a writer. You know, another safe career choice with a reliable income stream!
In 2020 you started 'Mother Lode', an online community for self-employed musicians that are also mothers. What inspired you to create this platform and what are the aims for the group?
We know the pandemic disproportionately affected women, many of whom had to leave their jobs (or reduce their working capacity) to care for and home school their children. We also know the pandemic had a disastrous effect on the performing arts sector. Mother Lode aims to provide practical support for indie and self-employed musicians who are mothers, and trying to maintain a creative practice while parenting in a post-pandemic landscape.
“Arts funding is so vital if we are to maintain a diverse and thriving ecosystem of creativity in the face of economic rationalism and neo capitalism. ”
Who in your crew or team deserves a shout out but never gets one? And what is it that they do that keeps your world turning?
I am so grateful to have received funding support from both The Australia Council and Creative Victoria for this album project. These legends have facilitated the creation of this work – from the recording to the release – and I am truly, madly, deeply grateful for their belief in this project! It wouldn’t exist without them. Arts funding is so vital if we are to maintain a diverse and thriving ecosystem of creativity in the face of economic rationalism and neo capitalism.
What's in the works for Georgia Fields? What can your fans look forward to?
Hiraeth is out in November, and I’ll be sharing three more songs in the lead-up.
HOLDING MY HANDS OUT SINGLE LAUNCH
SUN 10 JUL | WESLEY ANNE, NORTHCOTE | 3PM MATINEE | AA
Interview by Michelle Symes
July 2022