Gia Ford is a rising star in the alt-pop scene, known for her hauntingly beautiful melodies and deeply introspective lyrics. Hailing from Sheffield, Gia’s sound blends eclectic influences, drawing from both her personal experiences and the worlds of storytelling and poetry. Her latest album, Transparent Things, delves into themes of alienation, obsession, and the complexities of human emotion, resonating with those who find themselves on society’s fringes. In this candid interview, Gia opens up about her creative process, the inspiration behind her music, and the journey that has shaped her distinctive voice. From working with renowned producer Tony Berg to the emotional depth of her live performances, Gia Ford offers a glimpse into the world of an artist who’s unafraid to explore the darker corners of life.
Your music career is gaining significant momentum. Can you share a bit about your personal life and how your journey in music began?
I’m from Sheffield, where I still live. I went to school in Cheshire after my parents split up when I was a baby, but I spent every weekend and holiday back in Sheffield. I wanted to learn guitar, and through that, I picked up a few covers. My dad told me I had a nice tone to my voice. I’ve always loved reading, writing, and being creative, so making music felt like a natural conclusion.
Growing up between Sheffield and Cheshire, how did these contrasting environments influence your music and songwriting?
Sheffield was where I felt most like myself; it’s where I was born, and most of my family still lives there. I’ve always been inspired by the Peak District, which framed my childhood and fueled my imagination. Cheshire, on the other hand, felt soulless to me—though that might just have been my personal situation. As a kid, I was a daydreamer. I’ve written about the valley and my connection with it.
Your album Transparent Things delves into the lives of outcasts and those on society’s fringes. What inspired you to focus on these characters, and how do their stories reflect broader societal themes?
I’ve always been drawn to the darker corners of the world and the people who inhabit them. I’m fascinated by the boundaries between insiders and outsiders. What defines these roles? These questions resonate with how society has always navigated differences and similarities.
You mentioned that writing poetry and songs comes naturally to you. How did your early passion for poetry influence the songwriting process for Transparent Things?
I wouldn’t say I had a passion for poetry, but I’ve always been drawn to words and their fleeting beauty. As a writer, you can show someone a place they’ve never been by sparking their imagination. I hope my songs transport listeners to another place in the same way.
Your music blends alt-pop and psychedelic sleaze with a Sheffield swagger. Can you talk about how your upbringing in Sheffield and Cheshire shaped your musical identity?
Honestly, I don’t think the locations shaped my sound as much as my parents did. They both have eclectic tastes, and I think that influenced my musical identity more than where I grew up.
You worked with legendary producer Tony Berg at Sound City Studios for this album. How did his experience and approach influence the final sound of Transparent Things?
Tony’s approach was instinctive. He didn’t impose what he wanted but rather listened to what the music needed. His energy was spontaneous—if an idea came quickly and worked, we’d stick with it.
In “Poolside,” you explore themes of class and disconnection through the eyes of a pool boy. What inspired this narrative, and how do you think it resonates with listeners today?
It was a fictional story I came up with after seeing a photo book of 1950s LA houses and hotels—those birds-eye views of pools and perfection. I wanted to explore what lay beneath that surface. As for how it resonates, listeners often latch onto different words or phrases based on their own experiences. I can’t say for sure what stands out to them.
The song “Alligator” deals with the desperation to be seen and heard. How do you balance exploring personal themes with creating stories that listeners can relate to on a broader scale?
I don’t think about relatability when I’m writing. I focus on writing a song I like, one that represents my ideas. “Alligator” is nonsensical and metaphorical, so I don’t expect everyone to understand it without explanation. Some songs are meant for universal understanding, and I try to be more direct in those cases. But “Alligator” is not one of them!
“Loveshot” features various characters observed from a busy street. How do you approach character development in your songs, and what message do you hope to convey with this track?
I’m not sure, really. I just wanted to capture a tiny moment in my day when I looked around and thought, “How many different people there are, with completely different lives, perceptions, pasts, and futures.”
Many of the songs on Transparent Things tackle dark and complex themes, such as alienation and obsession. What draws you to these subjects, and how do you ensure your music remains accessible despite its depth?
I find human emotions fascinating. The darker they are, the more layers there are to unravel. I think the production and structure of the songs keep them accessible. They follow relatively popular formats, and I’m careful with word choices.
“Paint Me Like a Woman” explores the transformation of a woman into a villain due to mistreatment. Can you elaborate on the inspiration behind this song and its significance within the album?
The song was inspired by the movie Monster, about American serial killer Aileen Wuornos. Her story is tragic and complex. This song, along with “Poolside,” carries much of the album’s theme of alienation.
If you could live anywhere in the world, where would it be and why? How do you think this new environment would influence your music?
I don’t feel the need to stray far from where I live now, but I do crave the countryside—an isolated cottage or barn, maybe near a pub and a corner shop. I’d have a routine, which I think would make me more prolific. I need quiet to think, and the silence of the Peaks helps with that.
Are there any artists, either contemporary or from the past, that you would love to collaborate with? What draws you to them?
PJ Harvey—I relate to her lyricism and morbidity. Same with Nick Cave.
You’ve been praised for your storytelling ability. How do you ensure each song on Transparent Things tells a compelling and unique story while contributing to the overall theme of the album?
I stay fully immersed in the story while writing. It’s easy to get caught up in creating something that will do well commercially, but I try to focus on what I want to make and what’s best for my artistic vision.
Your live performances have been described as mesmerizing. How do you translate the emotional depth and narrative complexity of your songs into a live setting?
It’s similar to my approach to songwriting, but it’s harder on stage because there’s a balance between connecting with the audience and tapping into the emotion of the song. I’m still figuring that out.
With your first UK headline tour coming up, what are you most looking forward to, and how are you preparing for these performances?
I’m most excited to play the new songs from the album. So far, we’ve left a few of them out of the live set, so I’m making sure those are tight with the band.
“Don’t Drown Me Out” and “Our Mutual Friend” tackle deeply personal themes. How do you navigate sharing such intimate experiences with your audience through your music?
Sharing personal experiences is important to music and to humanity in general. It doesn’t feel unnatural or uncomfortable to me. Writing a personal song often brings closure, and if it does, it feels natural to share it.
You’ve drawn inspiration from enigmatic artists like Kate Bush and Björk. How do their influences manifest in your work, and what have you learned from their approaches to music and storytelling?
Kate Bush’s ability to be inspired by something and write a song that fully embodies it is impressive. I don’t have her theatricality, but her boldness has always resonated with me.
You’ve mentioned that Transparent Things isn’t a concept album, yet it has a cohesive theme of alienation. How did you maintain this balance, and what do you hope listeners take away from the album as a whole?
It wasn’t intentional; I only saw the thread between the songs after they were written. I don’t have specific expectations for what listeners take away. That’s the magic—I hope their interpretations expand the humanity of the songs.
Music can be a very personal expression. How do you balance sharing your personal experiences and emotions in your songs while maintaining a sense of privacy?
I share selectively, often through metaphors in the songs, and I’m careful about what I reveal outside of them.
As we look towards the end of the year, what are your plans for the winter? Do you have any new projects or performances lined up?
I’m going on my first UK headline tour in November, which should be a lot of fun! After the album release, I plan to dive back into writing more prolifically.
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