Georgia Meek

You have to work so many hours on the side of anything else you do that there's no possible space in the day to build anything.

And, you know, at one point I was working like Costa Coffee, getting there at 4am or something ridiculous to open for banker hour.

And then I was going to like the studio in the afternoon and I was going to go work a bar in the evening.

Actually, the garage where I just had my headline show is where I used to pull pints as a student.

And I used to go up there then to Islington, Paul Pines till about 4am, come home and it's unrealistic.

And it's the same thing, I think, in kind of micro senses, even growing up, like you're constantly trying to compete with people around you that have more time, more money, more resources.

And we all know about the creative industry that it's, you know, he who shouts loudest wins hardest sort of thing.

And you can't shout louder than anybody without some money to buy a megaphone.

That's

kind of how it works so I also think in terms of like development as well the journey is a lot longer because you can't ram those 10,000 hours into two years you can't do it because more than half of that is spent doing the things you need to do like laundry and getting up and going to work so yeah

it's like a gentrified space.

The arts community is sort of, I'm just trying to be really honest about everything and every step of this, because I really, if one good thing comes from any of this, it's inspiring working class kids to actually, you know, see this and be like, okay, maybe this is going to take me a little longer or it's going to be a little harder, but it is possible eventually that sort of thing.

But yeah, it's super challenging and

I don't think anybody expects anybody who's kind of fighting to pay rent and bills and fighting to eat and get on the tube to be building an empire in the background, especially a creative one.

So it's been awful.

Really bad.

blood it's been really awful but now it's amazing and the last couple of years especially have been incredible and it was really pivotal when I signed my publishing deal which was three four years ago now it was my first ever kind of big chunk of an advance so that's when I stopped working in other jobs and actually that kind of I think says it all three four years ago I was able to stop working now I'm here in the charts.

Yeah, it's like somebody just needs to give you that little bit of investment, a bit of an advance.

And actually, I find a lot of people don't know that.

So if you are listening to this and you're looking, you know, trying to do the artist thing, whether, you know, it's music or writing or anything, go and talk to publishers if you can, because that is the first cash flow, I suppose.