Georgia Twinn

Georgia Twinn is in her own lane of emergence and at 18 years old has the entirety of Gen Z in the palm of her hands. There’s something quite gripping about witnessing one of pop’s newcomers on the cusp of stardom, unknowing which step they’ll take next, yet knowing it’ll ultimately lead to greatness.

An assortment of twisted synth and lashing snares enclose a rebellious vocal in her debut single “You Shouldn’t Have F****d With Me” — a title that explains exactly who Twinn is as an artist and why you should only proceed with caution. Followed shortly after with the arrival of “I Don’t Mind,” this number wraps itself in melancholy with slight breezes of euphoric nostalgia. These singles soon caught the eye of the internet, and before anybody knew it, everybody started paying attention to the daring character named Georgia Twinn.

Bewildering to no one, Twinn soon became the internet’s best friend, something she never intended to happen. “I didn’t really realize how you could build an audience until I accidentally did,” she shares with EUPHORIA. “…then it clicked and I realized I could pursue music.” Twinn began songwriting at an extremely early age, with tracks like “Raccoons” dating back to writing sessions at just 15. “My songwriting style has definitely developed over time; I’m a lot more sure of how I wanna sound,” she says. Quarantine allowed Twinn to hone in on her craft and dictate her own stylistic choices, noting Grimes, Pale Waves, Lykke Li, and beabadoobee as definitive influences.

Accumulating a stupefying following on TikTok with a 700,000-strong brigade of angsty teenagers in solidarity with each other and video likes summiting the 11 million point and ticking, Twinn openly addresses the anxiety of being an online mastermind. “There definitely are times where things get stressful,” she begins. “I’m always trying to make my content different and most importantly true to myself, but it does get hard when there are so many aspects, like worrying about likes and receiving hate.” She resumes momentum despite this and has come to terms with the fact that not everyone will “get” her humor, her music, and just generally her as a being, “and that’s literally fine.”

Using online platforms to her advantage, Twinn constructs an enticing version of TikTok titled “Twinntok” in a visual for single “Matty Healy.”

“I wanted to pay tribute to TikTok as I owe it a lot, and I thought it would be fun to feature some of my older TikToks too,” she says. Inspiration led from her former boyfriend and doppelgänger of The 1975’s frontman, with piercing references to the band’s cult classic “Somebody Else” in the track’s glossy bridge. “I wanted to turn a bad relationship into a song and express how he couldn’t stop me from pursuing my music,” she says.

At 18, Twinn has become quite the visionary. “I love to put a dark, weird twist on everything I do,” she says. She touches on where her creativity is drawn from and gives credit where credit is due — to her team that sits and bathes in the ample ideas she often showers them with. “I want everything to be original and organic.”

Her recent Talk EP explored parties, heartbreak, and teenage nostalgia that truly encapsulated the young “teenage girl” period in a collection of songs written whilst still attending school. Ever so slightly older today, albeit marginally matured since writing those songs, she’s ready to unveil themes of an inward nature in her upcoming projects.

See also

TRACKS

Zara Larsson – Memory Lane

“Things are going to start getting a little more personal and dare I say ‘deep,’” she displays. “I have a story and I’m going to tell it with my music.” The eye roll attached to the “personal” adjective each time an artist uses the word to label new music is a highly commonplace, but with Twinn, it’s believable and feels like a moment.

Up first in a line of riveting aural installments is “Moth,” an imposing grunge anthem that treads newfound territories for her and her musical direction. The suffocation of being trapped in a relationship filled with clinginess and dependency is narrated through colossal amounts of brashness and resistance within the track. She demands you scream it loud, no excuses.

It’s crucial to note that this is only the beginning for Georgia Twinn. Her dream of performing her first live shows in the capital is just one of many fantasies in line to come true, and the backlog of entrancing new material is only her warming up as she prepares to make her mark. “I guess I want people to know I’m not going anywhere,” she finishes. “So … get used to me.”