Graham Reid | | 3 min read
The Guest House
When Georgia Lines launched her new EP The Guest House at Auckland's Hollywood Avondale theatre at the end of August, it was as much a sad and emotional event as a joyous one.
She was shortly leaving for Nashville and this would be her final concert at home for at the very least three months, and feasibly – given her songwriting and vocal gifts -- possibly much longer.
Lines leaves with awards (and many nominations), a chart-topping album The Rose of Jericho (2024), acclaim and a fan base drawn in by her emotional and crafted songs which owe a debt to lavish musicals as much as contemporary pop.
So her hello/goodbye was an event stacked with possibilities and, sometimes struggling to keep her emotions in check, she delivered.
Lines opened with the affirming Wonderful Life off her Guest House EP, a song which was timely as it reminded us in the dark days and tail end of a wet winter – as well as the grim economic climate – that there is also beauty and joy in the world.
The projected backdrop was of sheets on a washing-line blown by the breeze with “it's a wonderful life” written on them.
Wonderful Life
It could not have been more appropriate because even though it is a personal song some of the lines captured this specific moment: “Baby, it's a wonderful life, even as I'm waving goodbye. Don't look back. You're gonna make it just fine and it's a wonderful life.”
She peppered her set with new songs from the EP (the retro-disco sound of Julia, the elaborate ballad Limoncello) and told the story behind the meaning of the title track (which really does sound beamed in from a movie soundtrack).
There were also crowd-pleasers like the singalong Romeo (where she sounded a little breathless) and air-punching Faith, the excellent Wayside and others.
It made for a set which was balanced, judged its audience well and let the new songs sell themselves in the company of the familiar.
Lines had an honest and engaging presence beyond the music – she roamed the stage, free of the magnet of the standing mic – and indulged herself in anecdotes and then towards the end there were tearful thanks to the many who had helped her on this journey.
She also paid handsome tribute to the first opening act Aisha and Bebe (whom she'd seen some time before at a smokefreerockquest) and the very wonderful Lou'ana in a solo set, who had already left for another gig.
So a night of “thank you for coming” and “goodbye” at the same time.
Given her songcraft, Georgia Lines is the kind of artist who could be embraced in the US as someone who writes the hits that others sing. The new Streisand, Whitney and movie soundtracks will all be out there and the smart money is on those who pick up her material.
Beyond that she is also an engaging performer in her own right who sells her songs with passion and commitment.
But just one final point.
We've mentioned this previously -- with regard to Mel Parsons opening for Chris Isaak -- and it still irks.
Why don't promoters or management have an MC introduce acts and pay them that respect, especially in these days when people in the audience waiting are chatting and more often than not on their phones scrolling X, Facebook or whatever?
When Lou'ana appeared she set up her guitar and many in the audience seemed unaware she was up there (Hard to believe given what a striking figure she cut.)
When she started her short but impressive solo set people around me were still chatting and scrolling.
If an MC would take the microphone, thank people for coming, ask them to mute their phones “and please, give a warm welcome to . . .”
That would announce to all that things are starting, shut up and pay attention.
It would also accord the artist the respect and attention they deserve.
Yes, I've mentioned it before. But yes, it still irks.
The performers deserve better.
.
Georgia Lines, The Guest House Release Party, Hollywood, Avondale, Auckland. August 30, 2025
You can hear and buy The Guest House at bandcamp here
post a comment