Georgina Brett’s music is created using her voice and effects pedals, creating instant choirs of sound, often in an hypnotic style. The point of this music is not only to captivate with extraordinary timing and melodic style but also to help the listener to relax, in our ever-increasingly distracted world. Her double album Nonsense A and Nonsense B is of purely vocal works with no ‘deliberate’ words or lyrics. The albums show the voice as an instrument, and as a vehicle for emotional expression. “So much music is made in order to make us feel something so as to manipulate us to buy or to follow.. this album let’s your thoughts be whatever they want to be.” The albums also play with the idea that we like to interpret, constantly listening for meaning instead of just listening.

Georgina’s music adheres to some avant-garde principles using harmonious parameters, instead of the more dissonant style of it’s post WWII exponents. Georgina’s music is also gradually becoming a great vehicle for more experimental work, delving into expressive work which plays with the rich world of the media, politics, history, using matrices, semiotics and phonetics.


Peter Kirn of Create Digital Music website wrote this about Georgina Brett’s work:

“London’s Georgina Brett is part of a generation of solo artists who use layered loops to build trascendental, rotating textures from repetition. Hardware loopers and effects pedals remain the preferred tool here for Brett as for many such artists. But Brett’s work is worth a particular mention for its ghostly, ethereal quality and thoughtful, delicate compositions.

There is for me a continuum connecting to the Minimalists, of course – as a soloist, she’s doing some of the things that the Meredith Monk Ensemble did (minus the loopers), and there’s a feeling of the “discovered folk music” that Monk used in her work. Other moments have the quasi-Medieval sounds of Philip Glass — one track recalling the “Knee Plays,” other moments perhaps channeling Hildegard, in flourishes of modal monophony that underlie the writing. But this voice seems personal and intimate, centering on folk song round-style directness.

Watching her build up a track, even after many years of watching looping performances, is a pleasure, beginning fragile or even uncertain like an echo, but gently growing to a calmly rolling sea of sound.”



Georgina has shared a stage and/or worked on either collaborations/remix projects with artists listed below amongst others:

Alabama 3, Fabio Anile, Dave Barbarossa, Michael Bearpark, Andy Bole, The Broca Ensemble, Andy Butler, David Cooper Orton, Eatstatic, Oe Fischer, Idiot St. Crazy, Iris Garrelfs, Steve Finnerty, Knopfdreher, Višeslav Laboš,   Lee Harris & the Moonlight Orchestra, Gareth Lewis, Loalue, Lucid Brain Integrative Project, Gordon MacMillan, Henrique Mathias, Joaquin Mendoza, Jude C Montague, Moody Al, Moon Ra, Jon Moss, Steve Moyes, Andrew Ostler, Michael Peters, Phantom, Jono Podmore, Darren Sangita, Seagram Murals, Roshi, Nik Turner, Tuonela, Youth.

Georgina has performed at

  • ‘Analogue Occurrences’ supporting Metamono 2015
  • ‘Surfing on Sine Waves’ – Silencio Watford 2015
  • ‘Election Selection’ with Jono Podmore – Apiary London 2015
  • ‘Chant’ at The Portobello Festival 2015
  • Album launch of ‘Traipsing Bloom’ – Lee Harris & the Moonlight Orchestra 2015
  • Cosmic Puffin Festival 2015
  • ‘Road to Mount Helicon’ – Muse Gallery 2015
  • ‘Electronicuration #2’ – Hackney Classical, The Russett, London, 2015
  • Nonclassical ‘Battle of the Bands’ 2015
  • Rudolf Steiner House 2014
  • eXperimental Electronics 2014
  • Cosmic Puffin Festival 2014
  • Tuesdays Post Series 2 2014
  • St Mary Aldermary, London 2014
  • St John the Divine, Nottinghamshire 2014
  • St Margaret’s, Norwich 2013
  • ‘Hack the Barbican’, Barbican Centre London 2013
  • London Live-looping Festival 2013 Festival 2013
  • Art of the Moment Festival 2013
  • Cosmic Puffin Festival 2013
  • Tuesdays Post 2013-2012
  • Penarth Live-looping Festival 2012
  • Florence 2012 Live-looping Festival
  • Cologne Live-looping Festival 2011
  • USA at the Santa Cruz 2011 live-looping Festival
  • Buddhafield festival 2011
  • Since 2011 she hosts Tuesdays Post : Live Progressive Ambient a monthly event in London hosting live acts along with Andrew Ostler(Expert Sleepers/Darkroom) and Michael Bearpark (Darkroom/Tim Bowness), with regular assistance from: The Others, Karen S., Henrique Mathias (Hems), Hansgeorg Schwarz (Hanzo) and Rucksack Cinema.

Georgina is classically trained with a BMus and an MA in Aesthetics and Composition.


      • Hosts live radio shows on Resonance FM (since the first broadcast from The Royal Festival Hall to present day. 1997 – 2015
      • featured on the website Music accompanied Exhibition of Gavin Turk.
      • Ran the label ‘Solid Silence’ releasing live binaurally recorded cd’s and podcasts from eco-festivals around the UK 2003-2007
      • website (David Bowie art website) Music written by Georgina Brett & Jason Mayo for video diary of exhibition of the work of Gavin Turk 2002
      • Exhibited in The Royal Sculpture Society (2001)
      • Sonic Arts Network DJ Great Eastern Dining Rooms 1999
      • Performed in the ICA Diffusion set on the B. E. A. S. T. (Birmingham Electro Acoustic Sound Theatre) system (1999).
      • Wrote and performed music for many theatre productions including one Fringe 1st at ‘Grimm Tales’ – Devised by Toby Gough, Edinburgh Festival Assembly Rooms, ‘Mary & Lizzie’ – Frank McGuinness/Bedlam Theatre Edinburgh, , ‘Someone Waiting’ – Emlyn Williams/ Richmond Playhouse, ‘Cymbeline’ – Shakespeare/Central School of Speech and Drama 1990-1997
      • Sang in ‘Momente’ – Karlheinz Stockhausen at the QEH, Huddersfield New Music Festival 1994
      • Diffused ‘Scythe’ – Georgina Brett on B.E.A.S.T. 1994
      • Scholarship to Banff Centre for the Arts 1993
      • Scholarship to Birmingham University (MA) 1993