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Upon reading that the Thornbury Theatre’s art deco ballroom would be transformed into an “indoor picnic”, I could tell that Georgia Fields’ album launch was going to be a little different to most. The fact that Georgia’s backing band was actually more of a mini-orchestra kind of hinted towards that as well.
The dance floor of the theatre was covered with numerous tartan rugs and picnic blankets, which were adorned by plastic flowers and lanterns to create a more authentic picnic environment. There were even picnic snacks such as meringues, slices and biscuits! Add candle-lit tables, mood-lighting provided by the glow of lamps, and a low stage edged with fairy-lights and the intimate setting was complete.As soon as Georgia bounced onto the stage, it was apparent that the setting suited her show perfectly; she exuded charm and greeted her audience as if we were old friends, telling us personal anecdotes in between songs. Her friendly, down-to-earth demeanour and amusing banter made her seem very approachable and the show even more enjoyable.
And what a show it was. The ‘mini-orchestra’, used to replicate the arrangements on the album, did not disappoint; while Georgia herself switched between acoustic guitar, ukulele and synth, there were eight other instrumentalists on stage (and a few of them were multi-instrumentalists). We were treated to a wonderful combination of vibraphone, violins, viola, cello, drums, bass, xylophone, piano, trumpet, trombone, melodica, clarinet, flute, accordion, a cordless drill used as percussion and what sounded like a sample pad made up of animal sounds.
The orchestra displayed the clever craft of Georgia’s songs, as instruments dropped in and out, seamlessly easing from a quiet lull into a tidal wave of sound washing over the entire room. Georgia’s voice, in turn, complemented the music; its timbre was smooth, soft, and slightly husky at times, while also being strong and more than capable of standing alone or accompanied only by a single instrument.
One of the standout songs of the night was This is Not a Drill, which exemplifies the descriptions in the previous paragraph perfectly: from a simple, bare beginning, the song eventually builds up and up to an almost overwhelming whirlwind of sounds, before everything ceases except for the lone piano. As the sweet tones of the vibraphone and xylophone joined in, Georgia sang softly through a megaphone, while the audience sat—some on seats, some cross-legged on the picnic blankets—silent, mainly still, some swaying gently. Maybe it was the magic of seeing it performed live, combined with the romantic atmosphere, but this rendition surpassed the album recording by a mile.
Another special moment was when Georgia invited one of her support acts, Charles Jenkins, and special guest Angie Hart (of Frenté) onstage to perform a cover of The Beach Boys’ God Only Knows.
“This is my favourite song of all time, so there’s not only that pressure, but there’s a lot of chords!” said Georgia. Angie interjects, “Hey, Georgia…” “Yeah?” “Don’t fuck it up!”
With Angie on piano and Charles on guitar, the trio took it in turns to sing, coming together towards the song’s conclusion to sing harmonised rounds.
Georgia’s gracious and warm personality, her infectious brand of indie pop (made unique through the use of such a vast collection of instruments, with some being quite unusual indeed), the talent of her mini-orchestra and the carefully-constructed picnic-at-twilight setting captivated and enchanted the audience. All the elements of the show fitted together perfectly to create a wonderful evening that Georgia and her orchestra ought to be proud of.
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By Stephanie-Bowie Liew
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