Georgia Ku is one of the UK’s most accomplished modern songwriters, quietly shaping global pop over the past decade before stepping into her own spotlight. Originally from London, she has built an impressive catalogue of hits for major artists including Dua Lipa, alongside cuts for the likes of Martin Garrix, Iggy Azalea and Fifth Harmony. Known for her sharp melodic instincts and emotionally direct lyrics, Ku has developed a reputation as a go-to writer capable of blending commercial appeal with genuine feeling—skills that have taken her from behind-the-scenes sessions to some of the biggest stages in pop music.
Now, she’s entering a new chapter as an artist in her own right, shifting toward a country-leaning sound that draws more directly from her storytelling roots. That transition was already underway when she arrived at C2C Festival in London, where she introduced audiences to this evolving side of her artistry—one grounded in narrative, vulnerability and stripped-back honesty. With plans to relocate to Nashville immediately after the festival, Ku is fully committing to the move, positioning herself at the heart of the songwriting community that best fits her next phase. It marks a significant step for an artist who has already proven her ability to write global hits, but is now focused on telling her own stories in a new musical space. We caught up with her at the C2C festival in London to talk all about it.
Thank you for your time today, Georgia. Let’s jump straight in — how are you finding the festival?
I love it. Honestly, I’m just so glad the sun’s out because it makes such a difference to everything — the atmosphere, the crowd, even how you feel on stage. I just came off the entrance stage and the sun was literally shining right onto it, which made it feel really special. It just lifts the whole experience. When the weather’s like this, people actually want to be outside, they’re more engaged, and it creates this really warm, open energy. It made the whole set feel even more enjoyable.
And how have you found the reception to your songs so far?
It’s been amazing. I played the Barrel House first and it was absolutely packed, which was such a great feeling, and then I had the 3pm slot at the Big Entrance stage where you’ve got all that foot traffic coming in. There were hundreds of people there, which is incredible, especially for my first time here. You never really know what to expect walking into a new space like this, but the response has been so positive. It’s made me feel really welcomed.
Let’s talk about that — your first time here. When you got the call to play, how did that feel as an emerging artist in this space?
It felt crazy, honestly. Even though I’ve been in music for about ten years, this genre and this project feel very new to me, so in many ways I do feel like an emerging artist again. Getting the opportunity to play here, especially at something like this festival, just felt like a huge moment. But what’s been really special is how open and welcoming people have been — it genuinely feels like I’ve been embraced straight away.
Does it feel like you’ve hit reset and started again?
Yeah, pretty much. It does feel like starting over in a lot of ways, but at the same time, it’s the most authentic music I’ve ever made. That’s what makes it feel so natural. It doesn’t feel forced or unfamiliar — it actually feels like I’ve been doing this forever because it’s coming from such a real place.
What prompted that shift for you? Was there a specific moment?
There really was. I’ve always loved folk music — artists like Mumford & Sons, James Vincent McMorrow, Bob Dylan, Ben Howard — that’s always been the kind of music I connected with personally. But the real turning point came when I was on stage doing dance music, jumping around with DJs, and I just had this moment where I thought, “This isn’t me.” Then I went to see Noah Kahan at the Hollywood Bowl and it completely changed everything. I was blown away, and I realised that’s the kind of music I want to make — that’s what makes being an artist feel meaningful to me.
So were you searching for a deeper connection in your music?
Absolutely. I think that’s what it comes down to. With country and folk, it’s all about the songs — the relatability, the storytelling, the honesty. It’s music that people can really attach themselves to. That connection is something I felt was missing before, and it’s what I’ve found now.
You’ve worked with huge artists in your songwriting career — what are you most proud of from that chapter?
‘Scared to Be Lonely' with Martin Garrix and Dua Lipa is definitely a big one for me. That song really changed things in my career. What’s interesting is that it was written in a really stripped-back way — it was a real song about a real feeling. Even though it became this massive pop record, at its core it still had that honesty, and I think that’s why it connected.
You’ve written all over the world — how does Nashville compare?
Nashville is completely different. The way people write there is so focused on storytelling, and that really resonates with me. It’s not about rushing to the hook or just getting to the punchline — it’s about exploring the full story and not leaving anything unsaid. The cadence of the writing allows you to fit more into a song, to really dig into the narrative. That’s something I’ve found incredibly inspiring.
Is the writing process different there too?
Definitely. It’s much more concept-driven. In pop, it can often be about melody first, but in Nashville it’s really about the idea — the story — and building everything around that. The melody is still important, of course, but the foundation is the concept. That shift has opened up a lot creatively for me.
And how have you found writing there as a British artist?
It’s actually been really positive. A lot of people don’t even realise I’m British at first, which is funny. But the reception has been amazing — people are genuinely excited to write with me and for my project. It feels like they believe in what I’m doing, which is really encouraging.
Let’s talk about your new single ‘Don't Know Why I Left'— is this the start of a new phase?
It’s more of a continuation, but definitely with a bit more edge. The sound is still in the same world, but lyrically it’s sharper, more direct. The earlier songs were a bit softer, a bit more romantic, and now I feel like I’ve got more to say. It’s a natural progression, but it does feel like a new chapter emotionally.
Are your songs coming from personal experience?
Always. I never go into a writing session for myself unless I have something real I want to say. Everything comes from personal experience — that’s really important to me.
Who are your main influences in this new space?
I lean more towards artists like Mumford & Sons, Noah Kahan, Sierra Ferrell — that more raw, Americana-leaning sound. I love that honesty. But I do still have that pop sensibility from my background, so that naturally comes through as well.
If you could collaborate with anyone in the country or folk space, who would it be?
Mumford & Sons would be a dream. I’m obsessed with them. Chris Stapleton as well — he’s incredible. And Noah Kahan, obviously. Sierra Ferrell too — she’s amazing and doing some really interesting collaborations right now.
What does the year ahead look like for you?
I’ve got a few more songs ready to go — about three or four — so we’re going to start rolling those out. In terms of live shows, I think things will start to fall into place once I get to Nashville. That’s where I’ll be focusing next.
So you are relocating to Nashville?
Yes — on Monday! I’m just going to go for it, give it a year, and see how it feels. I’m someone who thrives on change, so I’m really excited about it.
What’s the ultimate goal once you’re there?
I love the intimate shows — they’re great for growth and connection — but the ultimate goal is always the bigger stages, the arena tours. That’s the dream.
You’ll be playing songwriter rounds too?
Yeah, I’m doing one tomorrow actually, The Song Suffragettes event. I love those environments — they’re so inspiring. It feels like you’re constantly learning and growing every time you step into a room like that.
It feels like a big, brave step you’re taking.
It is, but it’s exciting. It feels like I’ve kind of burned everything down and started again, but in a really positive way. I’m ready for it.
Thank you for your time today.
Thank you so much — it’s been really lovely talking to you.
Check out Georgia Ku's ‘Bye Bye Blues' album which was released in October last year in all the usual places right now.
