If you dive into the edgier side of alt-pop you will find UK’s Gia Ford. Her music is grounded in character-driven storytelling which often explores darker themes of modern life. On her debut album Transparent Things which will be released September 13, Ford showcases her adventurous spirit in which she navigates truths most introspective songwriters wouldn’t dare contemplate. Recorded at the legendary Sound City Studio in LA with Tong Berg – the producer behind Phoebe Bridgers’ Stranger In The Alps and Punisher – Ford has employed almost every trick in the book to create a wonderful fusion of explorative indie pop and storytelling. That said, straight out of Ford’s circus of the mind exists an array of outcast characters. Through her songs we can feel their pain, isolation and even their rage. Other times her protagonists feel like they are invisible to the world. For instance on Poolside Ford sings “I’m a ghost in the daylight/ On a crowded street/ Wanna be part of someone’s dream life/ I could murder the fantasy”. And while Ford’s reputation might lie in poignant images of alienation, her songs like Loveshot and Falling in Love Again show a tender side to her music. But I must stress it’s not always what it seems.
I recently reached out to Ford to talk about her upcoming album Transparent Things, her latest single Paint Me Like A Woman and what has been the most important lesson she has learned on musical journey so far. Here is some of what we talked about.
Gia, you have been drip feeding a number of singles for some time now from your forthcoming debut album Transparent Things. I imagine this approach has listeners begging for more? I know I’ve really enjoyed what I’ve heard so far. I’m kind of hearing a dark vibe or theme taking shape. Have I read too much into this?
There’s been a few people catching on that there would be an album, and asking about that. There’s not necessarily a theme but the darkness is definitely there… I can’t get away from it!
I guess being able to write from a safe distance and or in someone else’s shoes can be fun. No strings attached, personal baggage doesn’t enter the picture and you can explore ideas outside your comfort zone. Tell us about why you enjoy writing stories from the perspective of an observer or character within your own story?
I’ve never enjoyed writing about myself. It’s very rare that I do. And when I do, it tends to be extremely metaphorical, or in a guise of some sort. So in that way I might always be writing about myself, because if I’m drawn to a character enough, there’s probably something about them that I can relate to.
Right now, I’d say your song Alligator is on repeat on my stereo. I understand it’s a song about wanting to be seen and heard. Could you tell us a little more about it?
Alligator is actually one of those songs that’s the most about my personal experience, but really metaphorical. It’s about wanting my music to be heard and wanting some recognition for my work. By being the creatures in the song, I’m attempting to garner attention – from the first statement really. I’m an alligator – then I’m another creature floating above the ground with feathers… absurdities, attempts at getting noticed. The albatross is a reference to the Samuel Taylor Coleridge poem “The Rime of the Ancient Mariner” whereby the sailor curses himself by killing the bird. In the song I’m knowingly cursing myself. It’s a comment on ego and desire and why I’ve chosen this path, and why I keep doing it.
Especially this year, a strong call for action to end violence against women is something that is foremost in people’s minds in cities across Australia. I feel like your latest single Paint Me Like A Woman couldn’t have come at a better time. What sort of reaction has the song received thus far? Could you also tell us something surprising about how it came about?
It gets quite a reaction when I play it live, I think due to the explosive quality at the end, and the fact that I introduce it as “a song about female rage”. I’ve been quite vague about what inspired it, but it’s essentially about a woman who is taken over with rage due to her victimisation at the hands of men in her life, and becomes violent herself. One of the things that inspired it was ‘Monster’, the movie about Eileen Wuornos, who became dangerous after being abused and misunderstood her entire life. I found her story tragic – who might she have been if it weren’t for the violence she had experienced?
What’s the most important lesson you’ve learned on your musical journey to this point?
To protect your relationship with your art at all costs. Don’t lose it through ambition. It’s more precious than success will ever be.
For listeners who aren’t too familiar with you, could you tell us a little bit about the artists and people that have influenced you?
Kate Bush’s storytelling, along with novelists Donna Tartt, Patricia Highsmith… Leonard Cohen’s delicacy with words, Radiohead, Bowie, Carpenters, Portishead… I could go on!
I can’t let you go without telling you how much I love that funky guitar riff on Loveshot. What’s your go-to guitar? And can you tell us something about how that cool riff came about?
Thank you! The riff was written by my guitarist and collaborator Conor Houston, who’s a brilliant musician. I think we had a Rolling Stones song in mind when we wrote that, although I can’t remember which one. My go-to guitar is either my strat or my Gretsch electromatic.
I can’t wait to hear the rest of your new album. Which song from your debut are you excited about that we haven’t yet heard that will blow our mind? And why?
The last song, ‘Our Mutual Friend’. It’s just very overwhelming and beautiful. It’s a song about love and death, I wrote it after my grandma died. My producer Tony Berg told Rob Humphrey’s (who played drums on the record) to play his part “as if you’re playing humanity out – as if this is the last song before the end of the world”. It’s really moving and poignant.
Finally Gia, what does success mean to you as a musician? And as a person?
I’m not sure. Maybe freedom. Contentedness. We’ll see!
Rearview Mirror 
To protect your relationship with your art at all costs. — I love this
It’s a great answer from someone so sensible and mature by mind.
Nice interview. While reading your post, I sampled some of Ford’s currently available tracks from the album and like what I’ve heard. She has a great voice! For some reason, I can picture Annie Lennox in some of the songs.
She’s definitely an incredible emerging voice.
What a beautiful voice Gia has! Very agreeable to my ears, and I like her songs a lot. Great interview as always Robert!