Introducing georgee.

georgee is an LA based soul/rnb/pop artist! Though he is somewhat new to the scene he has hit the ground running with five amazing singles this past year! Originally from Boston, gerogee has both east and west coast influences, incorporates styles from many different genres, and always attempts to try something different and new. He sat down with us in a long-form Instagram Live interview to discuss his music, process, past releases, and future career aspirations as well as the changing landscape of the music industry!

Q: Musical genre and inspiration wise, no one creates art in a vacuum. How do you describe your style? And who are some of your artist inspirations?

So I think the stuff that's out is kind of variable. I've kind of dipped my toes into a couple of different genres or like core genres, I guess. So you have like the more funk sounding songs. You have some more hip hop inspired songs. Then you have like the kind of like late nineties, early two thousands rnb that I kind of grew up with that I really like that's in one of the songs. So I think it kind of overwhelmingly revolves around like the soul, rnb soul kind of area, which is, I think growing up that's kind of what I would listen to and that's what I thought I would make. 

But as I started writing more, I kind of started listening back into the like classic rock and the kind of pop music at the time of like the seventies and eighties, which was very different kind of like we consider it to be classic, now, classic rock than now. 

So I guess in terms of where the direction that I'm headed is a little bit more arrangement focused. Going back to like getting really into the music and into the melody and into the like chords, if you may, which I think obviously sounds funny. But I mean, for a while I would kind of just jam with a few kind of known, known chord progressions that I feel good with and then kind of build different colors and, and songs off of those. But now I'm like getting really into the arrangement of like, kind of just really trying to make a cool puzzle. And then melodic, using the melody to kind of tie the chord progressions together. So that's a lot of like listening to a lot of Elton John, a lot of Beach Boys, a lot of Stevie Wonder now cuz of the-- I just feel like arrangement wise, those are kind of-- and those aren't really obscure references either. I'm never somebody that's gonna give you like a crazy weird reference and be like, this guy's the best. Like, I think those people are incredible, obviously. 

So I think the direction I'm headed in now is very classic sounding, but I'm trying to make music that like your parents would like too, so something kind of more timeless. But I, you never know what comes out. I might go into session and like make a, like a, a fat 808 and kind of just have a funny tagline over it, which is what came out in my third single. 

So I, I don't really have an agenda whenever I'm making stuff, but I would say right now heavily influenced by kind of really good arrangement from like the 70's and 80's. And then just kind of trying to take my, my voice, Yeah. And, and marry it to that. 

In terms of vocalists, I really like, kind of throughout high school, early college, I was, I was really into Allen Stone. I really like I, I really liked Miguel too. I think Miguel kind of did the alternative rnb picture for me. 

That's kind of like what I'm doing live now. So it was really interesting cuz a lot of these songs were kind of conceptualized before I had an ability to, or a platform to kind of perform them live. And I just was recently on tour opening for my friend. And it was kind of, it was incredible. It was kind of, it was a very big tour for me in terms of like where I'm at in my career. But I kind of really realized quickly like what songs I, I enjoyed singing live and what songs were not as fun for me, or what it did, what didn't make sense, kind of what didn't translate as easily. And so now I'm really going in towards like that big, kind of more like rockstar vibe, but like more lagado, more vibrant and kind of funny, kind of in a way instead of, it's not very like sex appeal rockstar. It's more like, yeah, like funny dude. **No, I got you.** Rockstar vibe. So big drawn out, drawn out, singing, drawn out melodies that I can really kind of do a lot, many notes with one word. And also just like allows me the freedom to kind of deviate from the melody. I think that's really important to be able to give like a, a, a new approach to a song when you perform it live. So I think what I'm making now is, is really catering towards the. Like what I would wanna sing live. And so I haven't, I don't really have a lot of songs that are like, finished, but I've really noticed a shift in like what I'm prioritizing now, which is like, if I perform this like in a month, am I gonna be bored and want to go to the next song? Or am I gonna like lose myself in it? Kind of. And so, that's the direction I'm going. 

We'll see like, you know what, what those songs end up sounding like. And obviously it's important to, to think about how relatable and how consumable they can be to an extent, you know, obviously when you're making art for yourself first, that's like what you should be doing, kind of making sure it's speaking to you in a way. But kind of always thinking about how it's gonna be perceived is, is also a priority. So, hopefully, hopefully what I love to do, you know, alone ends up being what people want too.

Q: I wanted to talk a little bit about what your role is in it. You co-write, you also work with a producer. Do you have a hand in production? How does that process work?

So I think my main entry into music was with one of my best friends from college. And so he's, he's been producing with me for years now. We kind of would start kind of on the weekends going to his house in Baltimore and just like working in his basement and in like just randomly just throwing shit against the wall kind of figuring out, he was figuring out how to be a producer and I was just kind of like, he was just like, you're really good at singing. Like let's just go make a song. And I was never really in producer mode or writing mode mode. I was more so like the vehicle, I was kind of like, One, one piece of the puzzle. And that was, you know, in like 2016, 2017. 

Once we started getting a little bit better at working together and he started kind of working with other artists as well, that started doing pretty well. It started being, I said, started 40 times. It started being kind of like a reality that this could be something interesting to pursue.

So that's when I kind of approached it from a more personal perspective. I think I was like, I really wanna be a little bit more invested from the top down, you know: lyrics, production ideas and stuff. 

I also think he was really talented. He's really talented. His name is Elie. He's, he was kind of ahead of me in the writing game, obviously in the production game. So a lot of those decisions, they were always kind of like, always agreed upon, you know, like we were collaborating the whole time, but he was really driving the direction of the song before I put my voice on it. And then when, when I was able to track vocals, which I have like a very specific kind of approach to that was more my lane.

But fast forward now like three or four years. We made a, a lot of demos that ended up not coming out cuz I think the quality was really good, but they didn't kind of speak to what I was talking about earlier. Like it didn't really feel like it was embodying me as an artist in terms of my brain, like what I really wanted to put out.

So we actually had to, I came to LA I think in 2021. Early 2021 in February and we did this like recording trip. He was out in la I was in New York and I came for a week and we made two songs in that week, which is like very efficient for me. 

Usually just like it takes forever. And so we were working on "hunny", which is my third single, which is like very like, big bass, like big-- which is crazy and, and, and we were just kind of figuring out. How to make something really weird and fun. So we're just having a lot of fun during that process.

A lot of a lot of like sampling. We were like going through splice and kind of hearing some cool samples and then I was like, no, like, we're not using that. We're gonna just make it. So then I went in and like made, made every single, like almost every sound on that is just for my voice. So like ignoring some of the drums, like which some of it was also beat boxed.

All like the little samples, like the little melodic lines, the, the catchphrases, the kind of like, whatever you would hear as a sample is, is me. And they, we kind of tweaked it anyways, we're working on that and it was really fun. And then kind of while he was asleep, cuz he likes to sleep in, I was just like messing around with this really old beat that we had made like a year before that was kind of forgotten.

And that's how I got "baby4u", which was my first single and I was kind. just jamming to that alone. So that was like a very personal, like alone after hours type thing. So I hit him up and I was like, dude, like I actually think this melody that I have works really well for this old beat that we kind of kind of threw to the wayside.

And then that ended up kind of, we ended up kind of working on that. Once we were done working, working on Honey, we were. after the sessions just fooling around with "baby4u". And then that ended up being like a very personal project. He's like, okay, if you can write, you know, like if you write the verse, if you write this pre-course, if you write this course, that's good.

Like I'll totally track it. Yeah. Instead of like a collaborative thing. So I mean, I just like was with my girlfriend at the time cause she was visiting. Well, at the time I was--we're still together. But we were, at that time, we were together in the area working and it became one of my favorite songs, like immediately because I felt like it had that like rnb soul in the pre- chorus. And then it had like the funny unhinged kind of falsetto-y bright, funny stuff that the Chorus has. And so for those two songs specifically, they, they were conceived in the same head space, but totally different things came out, which I thought was really cool. 

The second song was "split", which is my, my best performing song. We made that before COVID, a year before those two songs, and we kind of left it, we didn't finish it. But we just kind of came back to it and we were like, this is just like good. So we wanna put it out, we want to freshen it up a little bit. 

But that was also kind of conceived before the georgee idea was really coming to life. It was a little bit more exploratory back then when we made "split". 

And then the fourth song "tell me" was like, Kind of the same deal. We were in a session for about a week. He was in another session during the week, and we had literally just an instrumental track of just piano chords that we were trying to do that big band, kind of like Elton John Power Ballad type arrangement to it, but there was no melodies, no nothing. And I just like wrote to it for like two hours. Just like singing voice memos over and over, looping it until I found something that I really liked. And then he really liked it. And by that point we're like three, four years into our relationship. So he's really going out of his way to make sure that I'm writing. So, so for, "tell me" the, the fourth single that was also me spearheading basically all of the writing, the conceptual stuff. And then once we, once we have that, you know, like I, I, I give it to him, he kind of performs surgery here and there and goes like, okay, we can maybe change this.

But it's like, obviously when he's like to the level that he's working like he's gonna have, he's gonna always have notes. And like we always, you know, there's moments where we, where we feel really good about it as is. And then there's other moments where he wants to do his best to kind of have a conversation about what my idea was and stuff.

What's really cool is like we have hundreds of songs and-- not hundreds, like probably tens of songs, you know, the other artists will literally have hundreds of unreleased songs. I'm kind of a lot slower, but the only songs that are out, the songs that are out are like really me in terms of from the top down, kind of from a lyric perspective and from a melody perspective.

I think production always kind of starts with him. But yeah, it's been very collaborative. But the songs that actually have made it out have ended up being random breaths of creativity that have come out of me, which I really respect from him too, because, you know, he has like a very high quality of- like he, what he wants to put his name on, you know, it's, it's been a very kind of shared experience with me and him about what we decide to put out together. 

But I'm just kind of working on finding my own voice now and kind of branching out working with other people too, to really kind of capitalize on the vibes that have randomly kind of farted out over the past couple of months in the form of those songs. Cuz I really do love them and I think it's really important to be able to kind of look back at a song from a year or two ago and be like, I love it. Like I really, I really like, it still stays with me. And obviously it's really cringy when like, my friends will play a song or like, play my song and, and they like, love it.

Yeah. And just, I like dissociate a little bit, but it's, it's really special to be able to look back at songs that I've put out and, and still say, oh, this like, makes sense. You know, and it, and Embodi. The, the creative track that I'm on. And I think what's really cool is even the moments where I feel like I really took the reins from a writing perspective.

My writing was super influenced by his writing. So working with all those years was like, it was, it was like basically, You know, like how I was getting better, how I was approaching lyrics, what I thought was good enough when I would delete it from my notes app if it wasn't good enough. And what I decided to keep, a lot of those, like value judgments were based off of kind of learning how he writes.

So in a way, like it was a very collaborative process even now to when he's like, yeah, write, write whatever you want, and let's, like, if it's fire, let's, let's track it. I mean, like a lot of what I do, I've learned from him too. So it's been, so I owe a lot obviously to him, but now it's kind of the next chapter for me to try to take what I learned and, and kind of jump into the deep end and, and really try to create something that feels like georgee, but maybe that's not produced by Elie. Cause right now I think they're very linked. 

So we have that, we have that that partnership. But I'm excited to figure out what I can take with what I learned from that and really try to, to go on my own. So I have a bunch of demos that I've been writing to over the past few months that like, are very personal, but they're like literally not produced.

They're just like voice memos or I'm trying to produce as well, I'm learning. And he's been super supportive of that. I'll send him like a bunch of like, 16 bar loop kind of files and little ideas unmixed, you know, like just very bare bones, just kind of trying to be weird and creative on it. And he's super, super, super supportive of that.

And he's always like, you're way, he's like, you're way better than I was when I started. But I'm like, yeah, you were like a teenager and I'm 25…

Q: Definitely not too late to start. Being able self-produce is, I think, as good a writing tool as anything. You can actualize stuff a lot quicker!

A hundred percent, and that's, I think, one of the reasons that for a while while working with him my writing was very contingent on kind of finding a seed of production that he made and writing off that it was very hard for me conceptualize full songs like with just my guitar or my piano. And so kind of adding the production element to my writing has opened up my, yeah, like now I'm like writing to drums, you know, I'm writing to other stuff.

So that's been really helpful and he's been really supportive. Like, whenever I have a question, I honestly been really lazy about it for the last few months, but early on when I was starting, I would always FaceTime him and he would like love, he just like stops what he is doing. And he's like, okay, so you go to the settings and then you click bus and then you make a bus and then you take, and I'm like, what?

But he like loves kinda telling me about that. So I think, I think long term I have a lot more to learn from him. And I think definitely in the production, in the production sense. But yeah, to answer your question, long windedly there have been varying levels of kind of contribution I think.

Overwhelming statement would be to just that. It's never just me or just him, but he's def-- with the songs that are out. He's definitely allowed me to kind of make sure that I've contributed enough or a lot to, to be comfortable with saying like, this is me because I had music out with him in college that we took down, under a different artist project. And that was also really collaborative. The songs were personal, but like I was just like miles behind in terms of what I could like, feel confident about contributing. And I think with this new georgee project, he was just like very he was very adamant on being like, okay, we're gonna make it new.

We're gonna make it better, but we're gonna make it like you. And so I think. Allowing me the, the freedom to kind of go crazy with my falsettos and be weird, and him responding really well to that has been like super yeah, energizing.

I think my favorite thing about your music is that it has that soul, seventies arrangement influence, but it also has a modern production style. I could see this charting top 40, but you can tell like there was a lot of thought and expertise put into the construction of it.

I really appreciate that. I think it's, it's been very rewarding at times. Kind of when we get to a, a point that were like, oh, this really ticks all the boxes.

But it's also been a super big headache at times cuz like sometimes what sounds really good, you know, might not be fulfilling enough. And I think I'm early enough in my career where it's, I'm like super annoying about it and I'm like, no, like this. I was like, I don't, this is like not hitting me. Like right here. You. Okay. 

And not every decision I make, you know, that ends up being released is like the most emotional, great, big, fulfilling musically decision. But it is, you know, there is a lot of kind of, there, there is a lot of attention to detail and I think that's why we move slowly. But I do think that's also kind of a weakness because I do want-- I wanna get to the point where I can feel confident about decisions more in, in the flesh out those ideas and, and ride them out and get to a song.

Not because like I wanna just crank out music like more efficiently, but it's more so like for me to like, I would like to be able to, yeah, to see more music finished and to actualize certain ideas, without overthinking. Because that's gonna be a good way for me to learn, kind of like, what some early ideas lead to.

Cause I think sometimes when we get really bogged down too early in our process, it, it slows down like those little light bulbs that are coming out that like might end up turning into like really cool things. So I think taking the more production step on my end, kind of learning how to produce better is gonna help.

Experiment with those light bulbs instead of kind of only being able to do that in sessions with him.

Q: What do you see as the importance of social media versus really committing to art as a musician right now?

That's a good question. I think I haven't figured out social media yet, but I think approaching it as something that you need to figure out is kind of inherently. What puts a lot of creative people at odds with their project? I think it's very capitalism oriented. I think just to be like, this is a resource that you need to figure out and use efficiently so that you can take your like, like creativity, which is now also commodified and like market it the best way so that it's so, it's like it's very intertwined, kind.

How a lot of industries grow, which is interesting. Cuz you know, the arts are technically supposed to be like an escape from that model. And where, where like social media and TikTok and, and stuff like, has really done wonders and like allowing people, you know, a platform that might have otherwise not had the ability to kind of promote their music.

That's like really important. But it's also, I mean, like, I'm a little bit cynical about it. I'm a little bit more like, kind of like, also I'm not trying to get, it's not a free space , like the American, like the American dream vibe and like how, like I don't really think that exists in, in the way that, you know, we've romanticized it to exist.

It's like it can happen to anyone if you really work hard, like if you really grind and you post every day like something, you might go viral. And then it's just, it's, it's, you're right. It's like really shifted my focus personally from, from the cre, from like actually what the good is to like the, the need to be able to market the good.

And I think that's been a big challenge for me. And you can see, like for my socials, I'm definitely not like influencer in any way. I don't have like a very big platform. Specific app, but I do think that it's important. I do think that it can be neglected and I do think it should be a part of an artist kind of approach to putting out music in 2022 or whatever.

Like, it's definitely super important because it is, you know, like the fastest, most efficient way to get to years. But like, like you said, if you're focusing so much on like a funny way to promote the music, , like it stops being about the music, and I think it's also totally okay for people to make music and to like prioritize, you know, the social media aspects of it and to not have as much of an emotional connection to the music because some people just literally do, like, don't have that connection to their own music or to music in general.

And that's totally fine. They love it. It makes them feel good. They love performing, they love, you know, singing, but they also really. Engaging with fans and like marketing and figuring out how to kind of creatively promote something. And so like, it's really just has to align with what you want, you know?

And I think I've realized that I don't really need. Fame or success in like twenties. I think I'm like very fulfilled with my, with my life in terms of the people that are in it and my friends, my family and the opportunities that I've been lucky enough to have cuz like I'm still, you know, very small artists, but I'm like already, you know, ahead of the curve from so many people that don't have the opportunity, like, you know, be interviewed or put songs up on Spotify or tour or do whatever.

So I always have to stay grounded in that, but it really helps me kind. The relationship is really a really personal one between the music and the social media. It's very, for me, it's like I need to have the music first and then I'm gonna take my time with the social media, which is gonna inherently become like slower moving, but I think more sustainable.

And I think that like it's very fast fashion right now. Which I can't talk down to because like we're literally talking about a time where someone can release a song, let's say, even if it like, we agree upon if it's like good or not, like it doesn't really matter. That can fucking trend. And then you get 50 million streams in a month.

And you know, that's like first of all a lot of money to, to be able to like in reinvest into like your life or your career. And that's like insane because like you have other artists that have like started, you know, 10 years ago that have like really loyal fan bases and like are more sustainable and more established, but they're not getting anywhere near those.

And it's like, how do you. Quantify, like what's more desirable. And I think the industry right now, from a lot of people that I'm speaking to they're preaching the, the slower sustainable route. But like their, their actions and their strategy are a lot more aligned with. With quicker route. And so they're like, we want real fans and like real engagement.

So be really authentic and be really authentic on TikTok. Be really authentic and that's what's gonna hap, that's what's gonna push the needle, but it's still kind of perpetuating this like rush, you know? It's like because if that was the case then like you wouldn't only be using TikTok, which is like literally chemically feeding into like the instant gratification of like, what's next?

What. So I think it's been, I think it's really destructive to, if you really love the music and you're really struggling to feel inspired in like such a tricky industry. To like dive headfirst into TikTok because, you know, there's a chance that you work really hard and it doesn't work, and then you kind of lose sight of the art.

So I think for me I'm kind of taking a step back and getting really into the music again, but I'm literally in, in, you know, I'm, I'm communicating with people all the time that are experts, you know, our self proclaimed experts or whatever about TikTok marketing and about branding, cuz that's important. And if you neglect that, like you're, you're kind of toast today.

And I think I definitely have a lot to learn in that department, but I think the day that I choose to prioritize, like volume posting and kind of loose sight of the music is gonna be the day that I like, realize that I'm just not happy, which is the reason that I'm, I think that kind of happened when I moved to LA a little bit was I kind of lost track of, I didn't throw myself into the music like I wanted to.

I actually like have been in sessions less. Than normal. And so I want to kind of focus on doing the stuff that comes naturally to me, but then also find a way to, rightfully so, like really utilize a platform that's very important. And instead of kind of really searching with the, like that kind of mindset of like breaking the code or like, or cracking the code or like finding the sweet spot or finding the need, that's what's gonna work and it's gonna just replicate it.

Replicate it. Instead of focusing so much on that, I think I just wanna like hold myself accountable and say, okay, like what feels really good for you to keep you excited about working? Cause I'm privileged enough to. I have a little bit of a cushion. You know, I have a part-time job. I can somewhat afford this lifestyle.

I'm definitely not saving for the future. Like I'm kind of screwed, you know, in terms of, but that's like everyone you know in LA. So I'm just kind of like while I'm here and not so much like building for a future financially per se cuz like I have a degree, you know, I grad, I could have worked, you know, a job and I might have liked it too.

You never know. But I did make the decision to kind of go into the creative year and I think that that's very emotional and one that was like a very specific decision because I wanted to really prioritize kind. Putting in my energy and stuff that made me really happy and that I knew that I could, you know, if I, if I have, if I have the privilege to do that, you know, my family's very supportive.

I come from a, a, like a music, a music household. And so since I'm doing that, like I really need to prioritize that or I'm rude. So like, as much as I really think the social media is important, it does feel secondary to me for ev it, it, it will always feel secondary to me. It feels like the type of industry that like, that's like, I'm not doing music to make money.

you know, if I can make money and do music, cause like everyone know, you can ask anyone. Artists don't make money. Like other people do. There's like, there's a lot more money in, in other areas of music. But if you're the artist, like more, it's, it's a harder to make money. Like what we think amounts of money are.

So no one's really like, I'm not out here like doing georgee songs to be a millionaire. Like it's probably not gonna happen. So because I'm not doing that, like I'm not overly focused on kind of the quick, the quick viral. But I do think a lot of people do it really well, and I think a lot of people do it in a very authentic way, and I don't wanna detract from that because there are so many people that find a lot of meaning in it. And visually kind of curating their brand on social media and getting, you know, good validation from fans and find it very empowering to be able to post whatever you want and potentially for a post to change life. I think that's like very special. 

I just, I'm the type of person that like will overthink too much. And so if I focus on that and prioritize that, I will go crazy. I will for for sure. If I, if I focus my, like, success on like the biggest app in the world that has everyone's eyes on it, you know, it's, it feels like a lot more fun for me to kinda make songs that I and grind, use my network, use some shows, go open, open for more tours, kind of slowly as I get in, as I'm living and breathing my project. Like when I go to social media, I'm gonna be that much more authentic, you know, when I go to it. And I'm not gonna overthink. 

So I think with a lot of artists now too, coming out of Covid, they didn't really have a lot of opportunity to outwardly kind of live and breed their project. A lot of it was concept and it was under screen. And for me, like I need to be out in the world. I need to do way more performing. I need to do way more collaborating. I need to just like feel in my body before I can kind of like get so out my body that I would post stuff for my career. So and that doesn't make me right obviously, and I know that you don't think that I'm saying that I'm right, but I think as a creative, it's really important to just do whatever makes you feel the most capable of doing it again the next day.

And so for me, that's like, as of now, like today, that's like going to a session and like making something cool and then seeing friends and playing pickleball and then. Getting dollar tacos after, you know, doing that for like a month and then out of nowhere I'm like, oh shit. Like that song was thick. I'm putting that one out.

And then just kind of going from there. It's not really. Not really like overly social media focused. 

But I'm sorry if I kind of lost back of a little bit of what you were trying to ask, but I think the-- finding the line between-- like the line should just be like, what makes you feel good enough to keep doing it? And I think, I think that like throwing myself into TikTok too early kind of stunted me in a way that wasn't sustainable for me. But that doesn't mean that I like hate it and think it's stupid. I think, I think I just need to find a, a relationship with it that makes me excited to use it, because at the end of the day when I'm making a song, in a sense, I'm not like,

I have to, like, I have to come up with a verse. Like, no, it's like fun. That's why I'm doing it. And so, I mean, I'm kind of spoiled to say like, I wanna have fun all the time, but I really do think that like the people that are most successful on the app probably are making something in a way that doesn't feel so invasive. You know, it feels good, it feels fun, it feels creative. Like if you love editing videos, if you love, I, I'm not real, that's not really my strength. But if you love editing videos, if you love. making content, making digital, short form digital content, then like that's a great option for you because you're kind of killing two birds with one stone.

I'm not really out here tracking my voice into am I going into logic, mixing it, take, put it sitting up my camera filming, like that's not really what my strengths are. So it's really hard for me to now be like, oh, this is my job. I have to sing this cover or do this and film it. What my strengths are are like hanging out, you know, and making some music. So I think, and, and also just like connecting with people. So I think in terms of being able to connect with people on an app, it talks a great resource. I'm just like not very good at it yet. And I'll figure it out. But I do think I gotta just go with the music first because If, you know, like a few months ago or a year ago during the Trump administration, I remember there was like a, a fear that he was gonna like ban TikTok or I don't remember what it was. And I remember, I don't think I had TikTok yet at the time, and I was like, damn, like. What if all this shit just gets lost? Like tomorrow. You know, and that could happen with Spotify too, but like your music kind of does live on, you know, in, in some way.

And so I'm just kind of treating it like that. And I think, you know, if a few years down the line I could have made better decisions, like specifically, that's inevitable. But I think I don't wanna kind of, since it's. Since it's kind of a vulner, kind of like a risky decision to go into music. I don't wanna compromise like my wellbeing.

I think it's so easy to do that when you're in music, when you're in LA in general. Like, I'm just like trying not to.

Q: I wanted to talk a little bit about everything that we at Busker are doing with digital collectables. What are your thoughts on this new web3 world with NFTs and its application in the music industry?

I mean, I had a good chat with some of you guys. I think we kind of hashed out a lot of the kind of exciting and energizing Qualities of, you know, working with webstream and music. I'm not super, super, super, like, educated on NFTs in general. I've dabbled, but I'm not an expert by any means.

I do think that kind of moving away from the label is exciting. Kind of just moving into finding a way to commodify But in a way that kind of does benefit the artist more, I think that's, that's like obviously gonna always be a good call. 

 I do think it's really exciting to be able to kind of give the fans an opportunity to have ownership in your project, find a way to get back to that type of community, but also financially kind of feel supported and empowered. I think eliminating the barriers so that you can really focus on your project is always a good thing. So I think a lot of what you guys have explained is really exciting.

The way that I see it is that it used to be, to be in the music industry, you had to turn to an established producer with a full multimillion dollar setup in situations that were often manipulative for artists and creatives who didn't fully understand what they were signing onto. And as the industry and technology has progressed, it's so much more accessible. Right now, I could turn around and make a song alone without leaving my room and put it out and use social media. But that's something that's never existed before.

And the way that I see it, it's very likely that Web3 is the next step in the progression of making art more accessible to people coming from all sorts of places and demographics that just wouldn't have been able to pursue art in the same way before.

Totally. I think honestly it is good that the accessibility is getting greatly opened because the reason that people are making music is because it feels good and, and they like it. So I think allowing people to-- and sometimes people choose to pursue it because there's a potential, you know, for financial health and whatever, like success and whatever. But I think, I think it's probably making a lot more people pick up a guitar now at a young age than before because it's like when you're young, like you do kind of think, oh, I would love to be rich and famous, like, this is great. Or I would love to be able to do music full time. And obviously in this type of, in this country, in this culture that we have in America, it's very oriented towards like, how are you gonna survive? Yeah. How are you making money?

And so I think it is cool, you know, to have the ability to, to really sustain a career or meet or be profitable in a way that's still valuable to fans. But without the help of the big players anymore. And I think, I think anything that gets more people excited about like, picking up a guitar and writing, like obviously there's gonna be a saturation and it's gonna be difficult, you know, and it's kind of a self-fulfilling problem of like, more people make it more harder, but more opportunities like, Kind of tricky, but I mean, I'm not any more special than like anyone else that decides that they love what love do it, you know?

And so being able to have a platform that, that, that lightens that load, you know, is like, I think a very special 

Q: What comes next for georgee? You have four songs out– are you building towards a bigger project? What do you foresee? What do you want to plug?

So I have a single coming out late September. I'm also working on putting on a free concert for fans. That are in my discord in, in like two weeks. So it's gonna be in the LA area. I'm like big, like finalizing, sourcing a, like a, a location for it. Probably gonna be like an outdoor kind of backyard theme or maybe like a warehousey type So Far Sounds vibe. And so I'm gonna do a show cuz I like got back from vacation. I was in, I was visiting family in Greece and I was just like, damn. I need to just like, I need to feel the performance energy again, even on a small scale. It's just like so special and so nice. And I felt like I lost sight of that, you know, while I was in LA for a while. So, the next two weeks, I'm kind of planning this nice free event that I'm gonna be singing, you know, my songs, the, the upcoming song, and maybe some single, maybe some like unreleased demos or maybe just like, I don't know, maybe I'll like write a song on the spot.

Just some something, something interactive and fun that's like very casual and that's very kind of from me to them because right now, anyone that's supporting this early is like super important. And I can't forget that. 

And I think that's obviously a big part of your platform as well. That like if you really take an early, someone really believe in them and have a connection that is very powerful. And so I'm kind of trying to capitalize in the live setting. Obviously I'm gonna need to figure out how to film some of it, you know, so it can live on, you know, on TikTok Media after, but that's the plan. Songs coming out probably a week after the show. And then that's gonna be like my first with part of this deal that I was in.

And then I think I'm just like looking outwards towards probably an EP, but it's just gonna be a lot of going back and conceptualizing what a project that's not just oriented. Like what would a, I'm definitely not anywhere and we are ready to really help them, but maybe like two, two EPs, you know, would be the next step.

And I think also kind of looking for, for shows. Anywhere I can across the country would be really cool. So I'm gonna really be looking at New York, trying get back there. LA obviously, San Diego, San Francisco, I visited those on tour. Like amazing. They were like very loud. I obviously love LA too, but San Francisco and San Diego were really special.

So I wanna just get back to where I performed and try to kind of engage with those communities a little bit because those were the first people that really got to see me perform and I like care about them a lot. And so being able to, being able to perform for them will, will be really special.

And then, yeah, hopefully getting on, on some tours, I'm, I'm lucky enough to know a lot of people that are also in music that are kind of, we're all, everyone's kind of very varied levels of, you know, success, whatever that looks like. And what's cool about LA is like you, you can just be homies with someone that's like, you know, by some metrics doing much better than you.

Yeah. But a lot of people don't really care, which is cool. There is this notion of like, like people do think that they're like too good or whatever, but I mean, I've, at least I've found that like I don't feel like I've ever been judged, you know, for the, for the place that I'm at in my career. And I felt very empowered by certain people that I've met, you know, that have, that have like either invited me into sessions or like just supported me while I was performing or, you know, supported me with a DM that were just like, Hey, I really like what you're doing, and.

That does exist. Like there are really good people and like a lot of really good people in music and I think that's really important. So I'm gonna hopefully try to leverage some of those connections and reach out to people that I feel supported by or inspired by and just be like, yo, like. I'd love to perform with you, or I'd love to do this, and I think the next year will be a year of like a lot of performing because I feel like that's what I'm best at.

So hopefully I can get on a couple tours in the spring or do some shows here and there and then, you know, maybe. Maybe even do a festival, but I don't know if I'm ready for a festival yet. 

But yeah, so basically, basically single out in a couple weeks. Then it's grinding, finding shows time while I'm working on this, like next body of work and then hopefully in the late spring, early summer, I'll like be able to start rolling out another like very planned body work that's, I think, gonna be really, really, really good. Like I'm, I'm very confident about it, but it's probably a little bit less poppy, but it's gonna be very me. And I think you'll know it when you hear it and I think you'll know it when you see it.

You know if you see it perform. And that's exciting. Cuz even if I like fail or whatever fail means, I'll be like, yo, I love what I just made. That's great. And I'll just like go. It's fine. I can, I can, I can go back to school, I could do whatever. Like I have my whole life ahead of me, so I don't wanna, yeah.

So that's the plan. We'll see if it's the same in like a week