Georgia Lines is ecstatic celebrating her debut album The Rose of Jericho. The artist is now a shooting star in 2024.
Lines has been immersed in music, writing and performance, as a youngster growing up in Tauranga.
I remember first seeing her late in Lockdown Year Zero (2020), at a converted organic butcher shop in Westmere. It had been refashioned as Freida Margolis, a boutique hole-in-the-wall music venue.
All the elements on display tonight were there, close to a fully formed talent. A remarkable and powerful Pop diva bursting with Soul and touches of R’n’B.
All appearances since, whether as a headline act, a support or part of an ensemble, she manages to steal the show. That includes stealing from herself.
She teaches five-year olds as a day job. A big part of her on-stage magnetism is being able to project to and control a room, small intimate venues to big theatres to the Arena.
I recently saw an Auckland University Professor of Education do the same thing at an academic lecture. He was a teacher of five- and six-year-olds too. Music formed part of his presentation as well.
Georgia Lines ability to hold an audience may seem as natural as breathing, but there is a hard-earned discipline there.
For Lines, it seems as natural as singing.
Album opener Grow Old Without You hits you with a voice which echoes so much of Dusty Springfield, it is arresting. Both on stage tonight and the studio version.
Looking back on that first small show four years ago, it was there from the start.
Never Had Love. She reminds me of a classic Sixties Pop diva. I also thought Sandie Shaw in the past. Tonight, Definitely Dusty.
Wearing a billowing black dress, with a retro hair style which seems like a modified bob, and of which I am probably way off the mark. A back-combed beehive bouffant may come later. Completes the look with clumpy boots, which first appeared with woman at the start of Punk.
Monopoly starts with hard disco, and a young female bass player is authoritative on many songs tonight. Bernard Edwards Chic rhythms turn into into Power Pop at the end.
There is a lot of banter. Lines is keen to share her inspirations. The Rose of Jericho is a flower that never dies. Since it is a desert dweller, it has the power of resurrection. Also, a symbol of positive energy.
Wayside and Distance, both off the album, are sophisticated Pop with touches of Jazz phrasing.
End of the World glides along, a smooth drifting on the ocean song. Looking out/ Sun on my back/ Heartstrings. A judicious use of high peak vocals.
Trust goes straight for the hip shake and the dance floor. The drums detonate to lead the song out. Some chanks rhythm guitar riffing.
One of her earlier songs, Faith, is a highlight. The sound of Giorgio Moroder Eurodisco in the dominant rhythm, encompassing another Pop diva Madonna as the song progresses.
Her producer Nic Manders make a guest appearance on keyboards, helping with Not by Your Side. TEEKS comes on board too with harmony vocals. All three authored this tune.
Lines has brought three young female artists to join her celebration tonight. She is active in championing and possibly mentoring other up-and -coming artists.
All three make an impression.
Emily Bateman has a good Girl Pop sound. She’s a Swiftie in approach, which is a good thing.
Otis on electric guitar proves the colour, whilst Bateman on acoustic guitar plays rhythm.
Sunday Best demonstrates she has writing skills. I’m taking my time and I’m taking some of yours too. Borrow or steal from the best. Buddy Holly’s Take Your Time.
Rosie Teese brings a little Nashville Country into her upbeat and bright Pop persona.
A diminutive blonde who does resemble Reese Witherspoon. Confident enough to own the whole stage with her infectious manner.
This is a big area to cover with just her bro’ William playing electric guitar supporting tonight.
He adds tremolo and some good Old Skool Rock riffs to Overboard, which Teese performs in earnest fashion. Along with her other available single, Two Sided Heart.
Performs a couple of torch songs which display her vocal prowess and power.
Has tons of confidence and certainly we will be seeing her again.
Alayna Powley is a New Zealander who has been releasing music for close to ten years and gaining a good overseas following.
Coming from Rotorua and in a musical family. Her father is a music teacher and recorded her singing as a six-year-old.
Regarded as an R’n’B to Pop style artist, she is keen on broadening her repertoire in recent times.
Brings a keyboard, guitar and drummer on stage, and the sound she has opens out into a sophisticated singer-songwriter realm.
Tender is a song which parallels her inner journey in the fractious music industry. Retaining softness and not succumbing to cynicism.
Glowing is sparkling and uplifting Pop, with nice keyboard colouring.
If You Want My Love (off her recent Self Portrait of a Woman Unravelling album) is dramatic as her voice can take off into stratosphere.
Georgia Lines is coming to the end, and the last song on the new album is also a favourite of hers.
Grand Illusion is a torch song, strings added from the sound board, and she is again in full-flight Dusty mode. Beautiful phrasing.
Does come back for her signature sign-off, Hine e Hine, a lullaby written by Fanny Princess Te Rangi Pai Howie almost 120 years ago. Parents and other Boomers in the audience will remember the Good Night Kiwi TVNZ end of broadcast theme.
Georgia Lines is blazing as a new Kiwi star in the Pop world.
Rev. Orange Peel
Photography by Marc Peretic
Georgia Lines
Emily Bateman
Rosie Teese
Alayna Powley
