Georgia Fields is an independent musician, writer, and arranger from Melbourne. Her self-titled LP was released to critical acclaim in 2010, being named ‘Album of the Week’ for both Radio National and Beat Magazine. She’s toured nationally with her Mini-Indie-Orchestra, including a sold-out show at The Famous Spiegeltent, and she shimmeyed her way onto our TV sets, with an appearance on SBS’ cult music television program, RocKwiz.
As part of Melbourne Music Week, Fields is performing in String Sessions: an exciting collision of Melbourne’s indie-pop and orchestral worlds. On Sunday 17 November, string players from the Melbourne Symphony Orchestra will join forces with three of Melbourne’s emerging indie artists to present a series of CBD pop-up performances, culminating in a finale concert at The Toff in Town. This unique collaboration will see the musicians work together to transform their songs – rearranging and reimagining the pieces to produce something entirely new.
What was your reaction when you found out that you’re going to be a part of the String Sessions?
As I recall, there was a selection of joyous expletives, followed by some enthusiastic fist-pumps in the air.
It’s a pretty unique opportunity to be a part of, what are you most looking forward to?
The surprise pop-up shows! During the day on Sunday 17 November, all three bands – myself, Paper House, and Second Hand Heart – will appear at different secret locations in the city, to perform a short set with the string section. Pop and classical music are very similar in their strict adherence to repetition and form (the typical “verse, chorus, verse, chorus, bridge, double chorus” is a good example). There often isn’t permission for any impromptu experimentation, like jazz or avant garde music. I’m really looking forward to the spontaneous nature of playing outside, un-miced, and interacting with a slightly-bewildered audience. I have no idea what will happen. Maybe we’ll be able to drag a few randoms up to the show at The Toff that evening, too.
Is this something you’ve dreamt of happening but never imagined it would or did it just crop up and you thought it would a sweet opportunity and a lot of fun?
Ever since I heard my father’s 7” single of “God Only Knows” on the turntable, I’ve wanted to sing with an orchestra. When I was working on my first album, I spent some time assembling my own Mini-Indie-Orchestra, with strings, brass, woodwind, and tuned percussion. I have been really lucky to collaborate with (and learn from!) some incredible celebrated Melbourne musicians, such as cellist Judith Hamann, who recently won The Age EG Award for her contribution to Experimental music, and violinist Elizabeth Welsh, whose star is very much on the rise. So I’ve been working with classical and experimental musicians for a while now… Being invited to take part in this Melbourne Music Week show feels like a confirmation of the past years’ hard work. And it’s always wonderful to collaborate with new people, such as Paper House, and the M-S-fucking-O! I feel very honoured to be involved,
What’s the process been like taking your songs and writing parts for strings?
I’m pretty much self-taught, so it’s been a really wonderful, and at times embarrassing, process. When I started working with classical musicians in 2008, I couldn’t read music, so I mostly sang the parts for them, and they were INCREDIBLY patient with my non-lingo (I called crotchet rests “Z guys” and quaver rests “Y guys”). I started a Bachelor of Music Industry at NMIT shortly after, and got a crash course in “Arranging Principles”. From there, I just looked at a lot of scores, listened to a lot of string parts, went to contemporary classical concerts, asked lots of questions, and tried things out – and I’m still learning. In the past I might have put string parts “on top of” my songs, but having learned more about the scope of sounds and textures available in a string section, I now find myself writing string parts (or at least, string arrangement ideas) while I’m composing my songs. One track from my forthcoming record is just string quintet and voice.
You’re working with the Melbourne Symphony Orchestra for the event, who would you love to work with in the future?
I’d love to sing a duet with Tom Waits! I’d also love to try a cross-disciplinary collaboration, perhaps with a contemporary dance group, or with a lighting artist. I recently went roller skating, and one of the staff members at the rink asked if I was interested in joining their artistic rollerskating troupe, so perhaps that’s a collaboration in the making? It’s easy to get stuck and stale in your own little music-making bubble. There’s something mysterious and thrilling about being granted access to the secret workings of an unfamiliar art practice.
What can we expect from the night?
Three Melbourne indie artists, exploding with delight, as they sing their songs alongside Melbourne Symphony Orchestra strings. Headliners Paper House play with genres, weaving through jazz, folk, and cinematic soundscapes. Openers Second Hand Heart have the most incredible layered vocals, all at once other-worldly and earthy. I’m performing in the middle, singing songs from my new record – stories of Luna lament, erotic orange-eating, and Sisyphean rocks that roll in rib-cage catacombs.
Are there many surprises?
If we told you, they wouldn’t be surprises.
And what’s next for Georgia Fields?
A second album. And hopefully, a roller skating performance collaboration.
Georgia Fields is on a session entitled ‘Arranging Strings For Your Music’ it is presented by the Digital Learning Hub. The session is by appointment only, applications via: facethemusic.org.au
Online applications close November 10th. Its a pretty cool opportunity for people to have a string arranger offer some free advice on adding strings to your track.
Face The Music 2013
Face The Music 2013 – Arts Centre Melbourne
Friday November 15th & Saturday 16th 2013
Full lineup announcement due Wednesday 11th September
Tickets on sale now at www.facethemusic.org.au
2 Day Conference Pass – $90/$70
1 Day Conference Pass – $60/$40
Face The Music 2013 Lineup
Michael & Matt Gudinski (The Mushroom Group)
Jamie Farkas (VICE General Manager)
Sonny Smith (Sonny & The Sunsets)
Renee Geyer
Richard Moffat (Way Over There)
Bonnie Dalton (Minnow & Co.)
Tim Scott (Gasometer)
Leigh Treweek (The Music)
Simon Winkler (RRR)
Tim Shiel (Faux Pas)
Emily Ulman (The Toff)
Caroline Kennedy (Caroline No, ex-Dead Star)
Brendan Maclean
Chelsea Wilson (PBS)
Stu Harvey (Triple J)
Samuel Wald (Artist Voice)
Maya Janeska (Shock Records)
Joel Morrison (The Old Bar)
Nicci Reid (Wing & Gill)
Nick O’Byrne (AIR)
Matt Leost (The Artery Foundation)
Sean Simmons (Premier Artists)
Darren Sylvester
Matt Ridgway (Winterpark)
Adam Christou (Remote Control)
Mikeangelo
Jimi Maroudas
Joining the first round of speakers:
Dan Rosen (ARIA, PPCA)
Peter Karpin (Universal)
John Watson (Birds Of Tokyo, Gotye manager)
Jess Beston (Tiny Monster)
Bruce Milne
Cash Savage (Cash Savage & the Last Drinks)
Sophie Miles (Mistletone Records)
Kim Carter (Rockstar management)
Dr Ianto Ware (National Live Music Office)
Darren Levin (FasterLouder, Mess + Noise)
Marcus Teague (The Vine)
Tim Morrison (Trial Kennedy)
Nic Warnock (RIP Society)
Markus Popp (Oval)
Ross Knight (Cosmic Psychos)
