Here we have Giant Killers with their single “One For Georgie,” a name that immediately sends ripples back three decades, a testament to patience and perhaps a touch of rightful stubbornness. Jamie Wortley and Michael Brown, the duo who saw their initial 90s trajectory cut short, are back, holding the reins to their own music. And this release feels less like dusting off relics and more like completing an unfinished thought.
It’s indie-pop, alright, buoyant on the surface, carrying that particular shimmer. Wortley’s vocals guide us through the narrative, while Brown’s instrumentation adds layers – bass holding the line, keys providing colour. But underneath the sheen, there’s a definite ache. The song maps the trajectory of “Georgie” – clearly evoking the spectral brilliance of George Best – from universal adoration to a state of being… misplaced? Forgotten by the masses.
It tackles that peculiar weight of public love, how it inflates and then, almost inevitably, leaks air. Georgie. The name makes me think, oddly, of those faded hardback biographies of footballers you’d find in the local library, the ones with slightly bruised corners, maybe a biro moustache scribbled onto the dust jacket by some forgotten adolescent wag. Icons handled, perhaps, a little too carelessly. The song itself doesn’t offer easy answers about Georgie’s fade, just poses the melancholic question, wrapped in a cautionary tale about pedestals.
The accompanying video cleverly braids their past and present – flickering archive glimpses against the sharp reality of their 2024 Shiiine On festival performance. Seeing archive footage of Best spliced in feels poignant, a digital ghost fulfilling a decades-old promise. It’s a loop closed, visually mirroring the song’s reflective spirit.
So, Giant Killers give us a thoughtful bop about fleeting glory. It’s a tune that catches the ear, but lingers with the unsettling thought: when the stadium lights dim and the crowd goes home, what truly remains of a legend?
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