Exploring Creativity And Connection With George Godwin: A Journey Through Music And Performance

From a childhood filled with instruments and creative inspiration to captivating audiences with spontaneous and dynamic live performances, George Godwin has carved a distinct path as a musician and composer. With a background in Creative Music Technology from the University of Surrey, George’s journey has been defined by a passion for collaboration, improvisation, and sonic exploration.

In this insightful conversation, George reflects on how his early exposure to the arts shaped his creative approach, the techniques he employs to keep each live show fresh, and the memorable experiences that have fueled his growth as an artist. He also shares his thoughts on the unpredictable beauty of live performances, the contrasting challenges of studio production, and the influence of renowned producers like Nigel Godrich and Inflo on his evolving sound.

Join us as we dive into the mind of a musician who thrives on innovation, adaptability, and the thrill of creating something new with every performance.

IMAGE: GEORGE GODWIN

What inspired your journey as a musician, and how did your early experiences shape your creative approach?

I’ve always been surrounded by music. Both my parents worked in creative fields. My mum worked as a seamstress in the theatre, and my dad is a photographer. Our house was always full of instruments collected over the years. My music teachers in secondary school also inspired me to explore composition and production.

They lent me equipment and passed on lots of new music for me to dissect. With their help, I applied to the University of Surrey to study Creative Music Technology. Studying at Surrey opened up a whole new world of collaboration for me. It was the first time I met so many talented audio engineers and musicians in one place.

How do you maintain creativity and spontaneity during live performances, and what techniques help you keep each show fresh?

In live settings, my goal is to deliver something spontaneous, something that is sonically surprising or interesting to me and to the listener. I like to use equipment that helps inform the outcome of a performance and forces me to work within the limitations of what the equipment can do, which helps move along the creative process and get ideas down quickly.

When I start preparing for a live performance, I allow myself to work freely and make decisions quickly without overthinking. I like that the outcome is different with every performance. I use instruments, like analog synthesizers, where the sound is going to be different every time. This frees me to be spontaneous and improvise parts.

Can you describe a particularly memorable performance and what made it stand out in your career?

I remember the first time I played at a Sofar Sounds show, in Bristol UK many years ago. It was the first time I had played a show in such a close intimate environment with an audience. It was at a converted loft building tucked away in the city, and the room could host about 50 people.

Nobody knows where the show is set, who will play, or what kind of music will be featured until you arrive so the whole night is unknown and exciting. I remember playing and having the front row of the audience right at my feet. It was a totally different experience to the shows I had played before. I remember being incredibly nervous and coming away from it with a new perspective on a live performance which was really inspiring.

What role does improvisation play in your music, and how do you prepare for the unpredictability of live shows?

The way I have my live rig set up encourages improvisation. At every show, there is always something that happens that you’re not planning for whether it’s technical problems, or new musical decisions.

I use synthesizers that allow me to respond to things in a very musical way, or if I need to quickly troubleshoot a problem in the middle of a song I can do that without it affecting the whole performance or it being too noticeable, hopefully. Over the years I’ve simplified my setup so that I can quickly change to another instrument if all else fails. The fact that something probably will go wrong is really exciting and makes every performance unique.

How has your experience as a touring musician influenced your approach to composing and performing music?

My experience playing live means I get to know the equipment really well. This is really invaluable when composing or working on a production because you want to get ideas recorded as quickly as possible, without technology getting in the way.

What are the key differences you notice between creating music in the studio and performing it live, and how do you adapt to each environment?

I think the key differences are when you play live, you get immediate feedback from an audience and the room. You get to know what works and you really learn how to shape sounds based on a physical performance.

You might even adapt a performance to suit the space you’re playing. Whereas in the studio, a lot of the time I’m working in isolation or collaborating in a small team in a small space – you’re in your own sonic world for that time and you’re making things for yourself. I love both worlds, as the outcome is always different.

Who are your biggest musical influences, and how have they shaped your evolution as an artist?

My biggest influences growing up were always engineers and artists that could capture a performance in a very real way. I’m always inspired by Nigel Godrich for that reason. And recently, producer ‘Inflo’ who’s production style is very minimal but really focuses on capturing the performance in a room. It really focuses your attention on the arrangement and choice of sound in a song, which is incredibly inspiring to me.

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