Joji Malani and Georgia Maq are undoubtedly two powerhouses of the Australian music industry.
Malani cemented himself as a household name during his time as a lead guitarist with the Australian indie rock group Gang of Youths. Since he made the decision to leave the band in 2019 – while on a North American tour with Mumford & Sons – he’s launched Broth Records in partnership with The Orchard. More recently, he launched his solo project Pei which was released on Friday, May 20th.
Despite Malani’s impressive successes, Maq’s achievements certainly don’t pale in comparison. The rock star has used her remarkable musical talents to help shine a light on music industry sexism. A member of alternative rock trio Camp Cope, Maq has stepped outside of the band’s accomplishments and released her solo debut album in 2019 and is geared up to play a solo show at Sydney Opera House as part of Vivid on Saturday, June 4th.
Considering their notable musical achievements, we decided to bring the two artists together to interview each other. While the musicians chatted, we learnt that they were already familiar with each other.
“What’s been going on? It’s so nice to see you. I can’t believe you’re a father now,” she asked him. “Yeah, it’s hectic. Is this a proper interview?” Joji replies “This feels weird. It just feels like we’re catching up”.
Regardless of their trepidation about popping on a journalist’s hat, the two esteemed musicians quickly slipped into an easy repertoire, discussing everything from religion and work to the problems they’ve had with their current and former bands and the prejudice of the Australian music industry.
Check out ‘Honest’ from Joji Malani’s new solo project Pei, which was released on May 18th.
Joji: This feels weird. It just feels like we’re catching up. But first and foremost, I want to acknowledge the land which I’m working on, the land of the Gadigal people of the Eora nation. I’m trying to practice this more. I want to acknowledge the ongoing connection with the people in the land, elders past and present, always was always will be Aboriginal land. Boom.
Georgia: You’re doing so good. And I’m on a beautiful Wurundjeri country here. And I would like to acknowledge the elders past and present. Yeah, I fucking hate the government. We need to give indigenous people more say and more power.
I’m so stressed about this election. I’m so stressed.
Joji: Are we doing that who are you voting for thing?
Georgia: Well, obviously I’m voting for Greens, obviously. I do love a good political conversation. I’ve got this theory that people who won’t tell you who they vote for always vote for the liberal party. Because they know that they’re in the wrong and they’re ashamed of it.
Joji: But I’m not one of those people, man. I publicly tell people I vote liberal.
Georgia: Nah, you vote One Nation [laughs].
Joji: No, I stay true to my Hillsong roots and just back ScoMo hard. Totally kidding. On record. That was a joke.
Georgia: … that’s so wild.
Joji: Well, it’s weird and this is a good segue into talking about my solo stuff.
Georgia: Ooh. Here we go.
Joji: My whole band is basically mostly ex Hillsong people and they’re all people I grew up playing in youth with. And that’s pretty intentional for myself. And not at all because I wanted to relive the Gang of Youths experience but more so, I guess a lot of my music touches on spirituality and how I really enjoy spirituality and find it important. But there’s things about spirituality that can be really awesome and really scary and they’re often the same things that inform either position. A big inspiration for me in my music, and you’ll see it with my clip that comes out on Broth Records. Yeah.
Georgia: Are you the star of it? Are you an actor? Are you getting your friends who I’ve never heard of to act on it?
Joji: He’s in another clip actually. Yeah. So there’s a big mid summer vibe to the clip and there’s mid summer influence throughout my music because when I saw that film, I walked away so inspired and in a weird way, it was reliving a lot of my experience going to church in the kind of church I went to.
Georgia: That’s so hectic.
Joji: Yeah well, not in the sense that there was this weird, murderous, drug taking kind of stuff. But it was just more that a lot of what informed the beauty was also what made the movie so dark and twisted. And that was a big part of, I guess, my experience growing up in church. And it’s like, I wanted to talk about it and I want to sing about it and allude to, yeah a lot of what I’m doing feels very gospel, or at least to me, or very worship music esque.
Georgia: No, I love that shit. I love it. I think gospel music is so beautiful. When I was 16, I went to America with my dad and we walked into an all black… It was two white people. We walked into an all black gospel church because we heard music and we just wanted to check it out. And it was just the most beautiful thing in the whole world. I’m pretty out that I’m very atheist and shit like that. But I think there’s something really beautiful about the idea of God and I I do like singing about it because I have a very complicated relationship with God. Yeah. I’m still not sure what I believe. I guess I’m agnostic, actually. Not an atheist, I’m agnostic. Because I don’t know.
Joji: That is crazy.
Georgia: I know. I just like singing about God really. And at this point in my life I’m now like, well it’s arrogant to think that we don’t know, because no one knows what happens after death, no one’s come back from that. And so I guess the best thing you can be is just, well I don’t know. And what does that matter as long as you’re not hurting anybody and it’s fine, I guess.
Joji: That’s so interesting you say that.
Georgia: I know. Because I’ve been very much… I’m an opinionated gal, but over time the lines have gotten a bit more blurred. Which is so weird, I think that’s something that I never thought would happen to me.
Joji: Yeah. I’ve known you now what? Five years, and I’ve never would’ve thought you would… Did you go to a Catholic school or something?
Georgia: No. I’m baptized Greek Orthodox. So I’m Greek Orthodox but I grew up with my dad quoting fucking Christopher Hitchens and Richard Dawkins at me and stuff like that. My dad read a lot of that kind of stuff and so that rubbed off on me obviously. So for a Christmas one year, my dad got me this book, which is Richard Dawkins, The Magic of Reality. And it’s about how science and evolution and knowing how things actually work scientifically is actually super beautiful. So that was my dad. He’s so funny. It’s a really nice book, it’s just illustrated really beautifully.
Joji: Do you find that, because I’m 30 now, how old are you if you don’t mind me asking?
Georgia: 27.
Joji: 27. So I spent 10 years, closer to eight years I think, being agnostic. I went through this period where when I was 19, I just thought, I don’t actually know any other way of life. I went to boarding school and in my dorm I was the only Christian, I had people of all different walks of life. And this is the thing, the brand of Pentecostalism I grew up, there’s so much about it that’s tied in with the American capitalist model. And we would often get told that no one feels the way we feel and has the relationship with Jesus that… No person of any other walk of life feels the same way about their God, we’re the only ones, we’re special, we’re God’s chosen people. And I remember when I was living with these different people, I’d be with Jewish kids, Islamic kids and seeing how fervent and faithful they were in their beliefs and their practices.
And I remember just being like wow, they believe and are just as convicted as I am. So at 19, I didn’t rebel or anything or walk away with a bad taste, I just thought I need to cleanse my palate and just let the world speak to me and see what I gravitate towards. I think I’ve spent 10 years just trying to be open to whatever and I’ve come across different things and dabbled in different things. And it’s weird, in the last six months… I don’t know about you, but I really missed the community and just being in an environment where positivity is spoken about. And I don’t believe in Jesus and I don’t a lot of the things that shape Christianity, but I love the idea of what the concept of Jesus represents and the concept of what God is. Yeah.
Georgia: Yeah, same.
Joji: Yeah. And I never thought I’d be back there. And it’s so interesting since I arrived at this spot, it’s like, people I never realized who felt the same way would write and sing about it in their songs. Nick Cave feels the same way. He writes a lot about God and I didn’t know that until six months ago or something. I was like, oh wow. That’s really interesting.
Georgia: So in your music, how has your relationship with God and the church influenced that? Do you notice a difference now in your life rather than before?
Joji: Yeah. I think before, I operated purely off of instinct and feeling and everything was informed by what was tangible and everything was reactionary to what was tangible. Whereas now it’s completely cerebral. I don’t know, some people would argue that that’s not exactly spirituality. Spirituality isn’t something that’s rigid and thought, but I get a sense of when… For me, if it works in my mind the way that my mind has established itself at the age of 30, it’s like a dopamine hit, you know what I mean? And I’m literally aware of the fact that it’s a dopamine hit. Whereas when I was a kid, I was like, oh this is the spirit of Jesus that I’m feeling.
Georgia: That’s so wild. I think the closest thing to me about, you know how you can feel God with you or stuff like that. To me, that’s the feeling of when people sing together and that’s why I’ll never forget the connection that I felt when me and my dad went to that gospel church, because people were just singing together. And so it was this great meeting of feeling God and then feeling music and how much that can dig its way into your soul and make you genuinely feel something.
Joji: Totally.
Georgia: Yeah. To this day, the closest thing that I feel to some kind of higher power or spirituality is when people are singing together. I just think it’s the most beautiful thing in the whole world. And that’s why I think that drove the decision for me with Camp Cope and with my solo work to add harmonies because it’s people singing together. And when people sing together you feel the most beautiful feeling and I want more of that. I want more of that at Camp Cope shows, I want more of that at my solo shows, because for so long, I feel like I sang alone. I fully sang alone because I was… I don’t know, I was very isolated for a while with my voice and now I’m opening myself up to… Or the last few years, I’ve been opening myself up to other people and other people singing with me and music and I think there’s some kind of connection there.
Credit: Nigel King
To this day, the closest thing that I feel to some kind of higher power or spirituality is when people are singing together. I just think it’s the most beautiful thing in the whole world. And that’s why I think that drove the decision for me with Camp Cope and with my solo work to add harmonies because it’s people singing together.
Joji: Do you mind if I just tap into that a little bit?
Georgia: Oh no, go for your life.
Joji: In the past, when you were singing by yourself yeah, you did feel isolated, but did you feel like you couldn’t sing in either unison or harmony with other people because maybe… You seem like someone who’s very conscious of how you’re represented and you know what you want to say and so if someone is performing with you or speaking or singing with you, you want to be sure that it’s someone that represents what you’re about. Did you feel that or? Because in-
Georgia: I’ve never thought about it but yeah, I feel like you’re right. Because I am a very opinionated person and people know me to be opinionated and outspoken and all that kind of shit. And I think that’s definitely a part of it, being really conscious of who I’m literally aligning my voice with. And that’s not on anyone else, that’s all to do with me and my shit.
Joji: But that’s why that’s why religious singing, right? Whether it’s in a Christian context or in whatever religion, that’s why it’s powerful because they’re all aligned with the same belief, I think.
Georgia: Yeah. I think it’s so beautiful. I just love it. I love it.
Joji: Love it.
Georgia: I don’t hate Hillsong. I think Hillsong people are fucking crazy, but I’m jealous that the connection with music is so strong. I think that’s really…
Joji: I have this idea, right? And this is what I think people should do. It’s send your kids to Hillsong, right? But pull them out just at 17 or 16 before they become too indoctrinated. Because man, when I grew up in Hillsong, we were playing on stage in front of a few hundred people at just our youth group from the age of 12, right? And you get taught all these things, we’re using in-ear monitor systems at 14.
Georgia: Oh my God, that’s sick. I didn’t even know in-ear monitors were a thing until I was 25.
Joji: Oh man. Literally, if you try and talk gear or music equipment to church people, they just roll their eyes because man, I’ve been doing this since I was 12. And you are just surrounded in professionalism and excellence because in that setting, it honours God to have the best gear and to be best equipped. Wait, hold on one sec. I’ll be right back, one sec.
Georgia [speaks to manager]: I like him, I’m a fan. I’m also in the middle of making food. I’m making a vegan version of these tacos that I saw on TikTok.
Joji: Really? That’s what this should have been. This should have just been a, both of us show each other’s favourite thing we’re eating right now.
Georgia: Well, I don’t know if it’s going to be any good. So we’ll see.
Joji: Was that bay leaves that you just put in?
Georgia: It was bay leaves I just put in. Now a little bit of cloves, I put in smoked paprika. Don’t like cloves that much so I’m not going to put too many in. But anyway.
Joji: Whenever you play your solo set, do your other band members just be like, yeah just remember you’re nothing without us?
Georgia: No. Well, I haven’t asked them. I don’t know how they feel about it but to me it’s just like, well Camp Cope doesn’t want to play my stupid pop songs or my lame little piano ballads and things like that. So there’s Camp Cope songs and then there’s Georgia Mac songs, and Georgia Mac is everything that’s not Camp Cope. I want to do so much. I want to make a country album, I want to make a pop album, I want to be like Lady Gaga, with her album, Joanne, it was like a country album. And then before that she made an album with Tony Bennett, a jazz album. I love that. I want to be able to do everything just to know that I can do it.
Joji: If you make a country album can I please play on it?
Georgia: Of course you can. Oh my God. Yes. What do you play, banjo?
Joji: Yeah, I do. It’s actually on my new song coming out. Country is one of my favourite things. I co-produced what was initially an old country album for Charlie Collins, it just came out two weeks ago now. But yeah, even on my own stuff, I’ve got pedal steel and banjo on a bunch of the songs. Yeah, all about that country world. But that’s sick.
Georgia: I feel like definitely my love for country definitely snuck its way into the new Camp Cope album. I don’t give a fuck because know how people are like, oh yeah, I like all kinds of music, except for the country. And it’s like, country music is the best music ever.
Anyway, so what I was saying is this is why I like my solo music so much because it feels a lot more free than Camp Cope because it’s literally just entirely my direction. Everything is exactly how I want it to be.
Joji: Are you saying the other two hold you back?
Georgia: No, they don’t hold me back. No. No, I love Camp Cope so much.
Joji: Good. Camp Cope’s a good sich, and your homies are good peeps.
Georgia: I know they are. Duh, I’m in it. I know that they are you dickhead. But this is why I like my solo stuff because it’s like, well if I want to make a country song or a pop song, I can just do it because I don’t think Thomo likes country music. I don’t think she does. But there’s a lot more that you can do on your own. I can do so much with Camp Cope, then I can also do stuff on my own. And it’s just so different. Camp Cope songs, all songs that I’ve written, they’re still Camp Cope songs so it’s still me and the gals. But well, I’m going to make this weird SoundCloud rap song.
Joji: Yeah. I never forget when I first heard your solo stuff. I was wowed, I really did not expect you to put out this kind of stuff.
Georgia: I know, no one did. I like keeping people guessing, like oh, what’s she going to do next, this crazy gal? I want to always keep experimenting and doing things differently. And I don’t want to limit myself to anything and I want to keep challenging myself and I think you can challenge yourself a lot with music. I haven’t even stepped into jazz yet, but wait until I do.
Joji: Damn, can I play in your jazz stuff as well?
Georgia: Yeah, of course can. Yeah. I haven’t seen you in so long, it’ll be so nice to make music together. Going back to when I was like, well I’d only sing by myself and I’d only write by myself and I didn’t want to sing with anyone for so long, I want to do co-writing, I want to fuck with other people and figure out what kind of a song I could make with this person and shit like that. I feel so much more open to it now and I just attribute that to growing up and then having your relationship with music, spirituality, lyrics, all that kind of stuff and have it change.
Joji: Sorry for interrupting. Can I ask you about that whole thing about co-writing, right? Because I consider us a part of the same music generation. And I just felt like from the two thousands, especially 2010s, growing up, listening and adoring the blog rock… of artists. And that dictated what was cool and that informed so much of our musical taste. And so many of those acts were really… The aesthetic extended itself to not just how they looked and how the songs sound, but even the process, how it was written, there’s this whole aesthetic. And I feel like our generation grew up with this false sense of, you are not a real artist unless you write everything yourself.
Georgia: I like to be credited for what I’ve done. Because I feel like for a long time, especially as a woman in music, people don’t expect you… If you make something great, they’re always going to make an excuse for it being like, oh there’s someone else behind her pulling the strings or writing the songs or anything like that. So a big thing with me is, I like to be credited for what I do. Writing, lyrics, production, I like to be fully credited. I like to have my name on that because that’s what I did, and I want people to know that.
Credit: Jo Duck
“As a woman in music, people don’t expect you… If you make something great, they’re always going to make an excuse for it being like, oh there’s someone else beind her pulling the strings”
Joji: Totally. Do you reckon that also informed your hesitancy to work with others?
Georgia: Oh yeah, absolutely. Totally. I know that I want to be getting credit for where credit’s due, but I also don’t mind sharing that anymore. It’s nice to work with people. It’s nice to see what you can come up with. I think that’s super cool.
Joji: I definitely learned that making my own album, the person I worked with, Tim Fitz from the Middle Kids. I remember him telling me, I think you go as far as you can by yourself, and the only way you can get better is through collaboration.
Georgia: Yeah, that’s profound. I totally agree with that because I feel like the things that I’ve written with other people, I wouldn’t have been able to do myself. And I’m so grateful for co-writing opportunities.
Joji: Totally. There’s a song on my new album where I basically wrote most of it. I wrote all the lyrics, I played most of the instrumentation, but that song wouldn’t have come about without Tim. Tim literally incepted the whole idea of the song, the mood, the tempo, and what the song should say. Even though I made everything and if I wanted to be a dick about it, I could have been like, oh I completely made the song by myself. But Tim informed everything about the song, you know what I mean? And I really wasn’t vibing it. I was like dude, this sounds like fucking TikTok jam. Do you know what I mean? This looks like I’m watching a TikTok video and I’m trying to make some music to this video. You know what I mean? And he was like dude, it totally doesn’t feel like that.
Georgia: Yeah, I like getting people’s opinions on things, in getting ideas. I love that.
Joji: Is there any song of yours on your solo track where it’s like, now you love it, but if you think back to when you were creating it, you really couldn’t see how this would fit into your body of work, but because of who you were writing with, they were able to help push you to a point where eventually when it was done, you were able to be like wow, this is so cool.
Georgia: So yeah, there’s a song called Walking Away From Love, and it’s the first song on my solo record. And that was the first time that I’d ever allowed someone access to change my music and make decisions. And that was my friend Dusty Bayless, who’s an incredible producer. And it really just changed so much for me. It was this door had been opened because what I’d played to him, he was like, right. Yeah, okay. Let’s loop that, and make some lyrics, here’s my ideas. And I’d be like, eew, no. Because all lyrics that I sing have to be from me. It has to come from me and my experience because of my connection with music, it’s very strong. And so with lyrics, it has to be my experience and stuff like that. So I don’t other people writing lyrics, I need to write my own lyrics. But yeah, with the production of it and stuff, it was so cool. I wasn’t sure about it, but then now I’m like fuck, I love that song because to me it represents growth. Yeah.
Joji: That’s it.
Georgia: Because you were a guitarist in a band. And now you are doing your own thing, and you’re singing and stuff. I feel like it’s good.
Joji: Totally. Yeah. And I guess that is a big part of what informs why I felt I had to leave Gang of Youths. I was contextualized, I guess, in a way and it was not the band’s fault, but I just felt I was really pigeonholed as a musician and as an artist and how I was interpreted I felt it was very limiting to my potential as a person and as an artist. And I really didn’t like that I was seen as a guitarist. Most of the time I wasn’t even just seen as a guitarist, I don’t know if this was low key a racist thing, but most fans I met thought I was a bass player because the dark guy in the band always does… I’m not even kidding you. It’s been an ongoing joke, that’s been the joke of my whole music career the last eight or nine years that I was-
Georgia: Oh my God.
Joji: Yeah. I was the bass player in Gang of Youths. And that’s the thing-
Georgia: That’s so fucked.
Credit: Dave Simpson
“Most of the time I wasn’t even just seen as a guitarist, I don’t know if this was low key a racist thing, but most fans I met thought I was a bass player because the dark guy in the band always does… I’m not even kidding you.”
Joji: It’s low key at compliment because Max Dunn, the bass player in Gang of Youths is quite the bass player so I’m touched that people think I would be that good. But I just really didn’t like that I was… I could see my trajectory, could see where the band was going. We’re starting to do arena supports at the time and I just thought if I tried to release solo music, it would always be seen… Basically, I remember touring, I’m not going to say who. I remember touring with some big bands in these arenas and a bunch of the members in each band all had solo projects. I remember looking at them being like, oh yeah, you’ve got this solo project but your solo project’s always going to be seen as so and so from this band.
And I guess for myself, everything that I do with my solo music is very not Gangs. And my story and my sound and the way I want to speak about it and the way in which I’d want people to…I guess you can’t control how people interpret your music or digest it but if you can help it, that’s important to me I guess. So there was a lot of reasons why I left but that was a big part of it. I wanted autonomy, I wanted people to perceive me in a different way and not compare anything I do to Gangs because it’s not meant to be in the same world, it’s not meant to be in the same lane. Yeah, we might have all grown up together and might have been influenced by different things, but we’re also completely different people who are drawn to different things and have different stories and that informs, not just the lyrical content, but the production, that informs the instrumentation.
This album is very little electric guitar the way that… And I made a real effort and not just to prove a point, but just because that’s how I make music, that’s how I hear it. Instead of stacking distorted guitars to fill in sections, I would stack acoustic with banjo and mandolin. And anything electric guitar wise is just glitchy effects or I’d make it sound like a wonky broken guitar for effect.
Georgia: There’s honestly nothing more embarrassing than playing the guitar. So thank God.
Joji: I actually just bought my first ever acoustic two weeks ago.
Georgia: Oh my God, congrats. I love to play. But Joji, it’s really nice hearing your story because I feel like watching you has been really nice. We finally get to see who you are and hear your music and your truth and that’s just really nice. Oh my God, so you started a label, what was the intention behind that? What are your goals with the label?
Joji: Yeah. I guess that’s a bigger part of why I left Gangs. For me, I felt that continuing on with gangs was actually going to limit my ability to do stuff that I guess I’ve always been drawn to and care about. This label I see as my way of having a job that interacts with not just the community, but the community that I want to be in touch with. So it was important to come back to Sydney and be in touch with the Sydney community, but not just the Sydney community, the Pacifica community, the community out west.
I think being younger, you have this idea of leaving where you come from and seeing the world, moving to New York. Man, I got to move to bloody Paris and London, I got to go to Berlin. And you want to make sure that people who you grew up with know that you are not from there or you moved on, but then you get to this point where you’re like, my God what I was a part of has a greater currency, culture has a great a currency. And it was important for me. I really care about my Fijian heritage and also I lived overseas for a while and I moved to Australia. My dad worked for the government and the whole time growing up both my father and mother always said to us, anything you do, you’ve moved here so that you could be equipped to give back to your people back home or your Fijian community here.
And so long term I want to do stuff with the label, open up a South Pacific branch in Fiji and in parts of the islands because there isn’t a lot of great recording opportunities. And there’s so much talent out there, as we know from the Pacifica community in Australia and in New Zealand. But yeah, the long and short of it is Broth Records, it’s not just about Pacifica, but I wanted to work with diverse acts. And look, the group that I was in is quite a well rounded, open-minded group of people but I just felt that the whole world is very, I don’t know. The alternative rock world it’s very white male, and that was another thing that annoyed me about how I could perceive my music being digested where it’d be… I felt like a monkey that was dancing for families coming in cruise ships. Cultural cruise ships just coming in and being like, oh that’s cool and they go back to their world and they just have the postcard from that trip.
I felt like the Indy rock world, I really struggle with that world. And I think even now, that’s why it’s great doing the label thing because being associated with acts of different cultures and different genres, it’s allowed… And it’s been a real, intentional reason behind why I’ve waited this long to release my own music. I felt like if I started the label and released my own music first, people would still digest my music through that lens. Whereas when I released a few other things, people can perceive it the way, I guess, more or less how I want it to be digested. I don’t know. I feel like I’m just talking a lot of shit but does that make sense?
Georgia: Yeah. No, that makes total sense. I completely understand. And that’s really cool it’s really… I like how intentional it was.
Joji: Yeah. I’m super intentional
Georgia: Where do you live?
Joji: [Lists Sydney suburb] Where are you at?
Georgia: [Lists Melbourne suburb] But I grew up in Kew, which is a really nice, fancy suburb. So I’m a big fucking tourist phony. My mum’s a dentist, and my dad was a famous musician. Yeah, my dad played in Red Gum.
But my whole life, I felt this sense of needing to help people and needing to give back because that is the only meaningful thing in the entire world and… So I moved to [Melbourne suburb[ when I was 19 and then just never left. And studied nursing as soon as I left high school.
I’m in denial. I’m in denial that I’m ever going to age. It’s quite pathetic but this is what it is. I think that’s also because society values youth in music. You got to be a young woman to be successful in music.
Joji: Oh, how ageist. Especially towards women hey. You’re discarded as soon as you hit 30.
Georgia: I know. And I’m actually so scared of that.
Joji: Really?
Georgia: Yeah, because I want to still be able to do music and have people care about it. And I’m like, ‘oh my God, I got three years. I got to do everything. And then I’m done’. Hopefully, that will change.
Joji: How does [working as a nurse] work with your tour sched?
Georgia: Well, our touring’s mostly on weekends, so it works. And at this point, I’m not really touring. I’m touring in July in America with Camp Cope. But yeah, I just have these little one off shows and so work is very flexible around that.
Joji: Do they know you’re a musician?
Georgia: Yeah. But because the hospital is so fucking big and the nursing and midwifery workforce is so big, the actual nurses that I work with know that I’m a musician. You know you meet people and then you follow each other on Instagram and they’ll be like, why do you have 30,000 followers and a blue tick? And you’d be like well, I lived the life. But like the balance. I like feeling like a regular person who’s contributing to society who isn’t special on a stage. I like how I feel when I play music and I like how I feel when I work. I’m just a normal, just a regular gal.
JJoji: Have you ever encountered a patient that recognized you?
Georgia: Not a patient, but when I was doing vaccination, I got recognized. And sometimes I’ll look at my phone at the end of the shift and just get some DM request from a person being like, hey you vaccinated me. I’m such a big fan, blah, blah, blah. I’d be like, oh my God, thank you for getting vaccinated and for caring for your community. Important. Yeah. I think the pandemic had a really big… Changed a lot of things for me, it changed what I deem important. And nursing is so important to me. I love it. I love it so much
