Manchester-based Georgian, fronted by Georgia McKiernan, are known for their distinctive “psychedelic western” sound, combining 60s-inspired psychedelia with a touch of Southern Gothic and folk horror. Fresh off the release of their latest single, Soleil, via Heist or Hit, Georgian captures a bittersweet farewell to summer with a longing for warmth amidst the cold grip of winter. Following a recent performance at The Rodeo Magazine’s gig at Lion’s Den last month, Georgia McKiernan tells us all about about her creative process, the inspirations behind Soleil, and what’s next for the band.
[Gemma Cockrell]: Your music is often described as “psychedelic western.” How did you come to develop this unique sound, and what artists or genres have influenced you most?
[Georgia McKiernan]: I think this “psychedelic western” description might not be picked up on every single we release by the majority, but I think sounds can be subtle. We take something as small as a certain drum shuffle, or the use of an organ in a bridge that we’ve heard in other songs we enjoy, and choose to take influence for our own tracks. A big inspiration in these past two songs we’ve released were Nancy Sinatra and Lee Hazelwood’s hit Some Velvet Morning and A LOT of The Brian Jonestown Massacre.
[GC]: Your new single Soleil has been described as a farewell to summer. Can you tell us what inspired this song, both lyrically and musically?
[GM]: It’s not so much as a farewell to summer, but more of a longing. I think the winter can reflect darkness and loneliness to a lot of people, whereas the summer can symbolise hope and warmth. The use of the dark and the light can be a metaphor for anybody listening, as its just the longing for something better – whether this be a relationship, a job, where you live; it’s subjective to the audience.
[GC]: You mentioned that the track uses seasons as a metaphor for longing. Could you talk more about the themes of loss and nostalgia in your music?
[GM]: I think nostalgia is rife throughout our music with our instrumentation (organs and lap-steel imitation) and influences. I think when writing it’s easy for me to slip into themes of loss and nostalgia because I’m a pretty sad sentimental person haha. I had to really challenge myself when writing Big Lips in Leather by making it a positive love song, as heartbreak was a favourite subject before hand. Maybe it’s harder for me to recognise when things are good… wow deep.
[GC]: Working with Arno Stols at Magenta Studios in Amsterdam must have been an experience. What was the recording and production process like for Soleil?
[GM]: It was an experience, that’s for sure. I actually recorded Soleil three years ago when it was the first time I had ever been to the Netherlands and the first time ever being in a studio of that magnitude. There were around 20 synths alone in this studio, a shelf full of random percussion instruments and a view of the big city outside the window, so understandably I was very nervous and felt well out of my depth. We had written Soleil a few months prior, alongside other tracks, bouncing it back and forth adding something new each time. I think it took me a few dozen times to get the take as this was my first time recording and first time even singing in front of just one person. But it was a great experience and I love the single so much.
[GC]: Soleil includes elements of both Southern Gothic and 60s psychedelia. How do you balance these influences to create something that feels both modern and nostalgic?
[GM]: I guess this would come from listening to modern artists like Wolf Alice, alongside 60s bands like The Beatles, Beach Boys, Nancy Sinatra, Jefferson Airplane. I better stop there because I’d be here all day otherwise haha.
[GC]: Your debut single, Big Lips in Leather, was intimate and captivating. How does Soleil compare to that debut? Do you see a progression or a shift in themes or style?
[GM]: I think there will always be a shift in each single I release as I don’t want to be defined to one genre, In today’s age I don’t think categories and labels are as important as they once potentially were. As a band we also have a large influx of inspirations that effects our writing style – folk, rock, psychedelia, northern soul, etc.
[GC]: You’ve said Soleil is one of your favourite songs you’ve written. What about this song stands out to you personally, and why does it feel so special?
[GM]: I think it’s such a timeless sound; I’d love people questioning whether this was released yesterday or back in the early 60s. It reminds me of work by Santo & Johnny with the guitar bends, but then also reminds me of some Lana Del Rey tracks with the vintage holiday imagery through lyrics.
[GC]: Performing live seems central to your work, with a strong connection between you and your band. How does performing live influence your music and your relationship with your audience?
[GM]: Me and the band thrive playing live, we love to see new faces in the crowd and responses to our sound. The current state of the music industry also makes it integral to perform live to earn any amount of money, it’s just a good job we love it as well. It’s important to us to perform the song slightly different from the record, we think it keeps it interesting for the audience and gives more reason to see us live. I would say that the more myself and the band play live the more confident and comfortable we get with both each others playing styles and interactions with the audience. People often enjoy my dry awkwardness when talking with the crowd.
[GC]: You performed an exciting gig with The Rodeo Magazine at Lion’s Den in Manchester on October 25th. How was the show?
[GM]: The Rodeo gig, to put it simply, was the best gig I’ve ever done! And after many years of performing with different bands and under different names growing up, it’s quite a statement. I just felt a new confidence come over me that I’ve never had before, I was able to move freely, have a stable, strong voice and I was able to interact better with the audience. I also just felt very pretty, not in a cocky way, but my hair fell nicely that day and I loved my outfit, so I wasn’t as insecure, I felt like I belonged up on the stage. I don’t know whether this confidence was due to the intense spotlight that blocked me from seeing any of the audiences’ faces, the thorough practices we had leading up to the gig, or the complimentary rider – but I won’t question it. It was brilliant.
[GC]: Looking forward, what’s next for Georgian? Are there more singles or perhaps an album in the works?
[GM]: I won’t reveal all of my cards too soon… however we have an exclusive song and music video coming out at the end of this year for those that are signed to the mailing list via my website. So if you want to see/hear this project, you know what to do.
We are also heading back to Amsterdam very shortly to finalise some old projects and also create some new demos, which is very exciting as we have a LOT of ideas brewing. You will also be able to hear these ideas at our live shows. We are performing at the Social in London on 21/11/24 where tickets are free and we have a headline show in Manchester at 33 Oldham Street on 10/12/24.
Soleil by Georgian is out now.
