Georgia finds community on the dancefloor on Euphoric 

However, it was the roster of features and remixes with other artists that caught producer Rostam’s (HAIM, Clairo, Carly Rae Jepsen) eye and led to the genesis of a collaboration between them – a partnership that is proven successful across Euphoric's ten tracks.

Born from simple melodies on her Wurlitzer, Georgia transforms these humble beginnings into larger-than-life anthems that would feel at home amongst any club classic. Lyrically she remains concerned with exploring the various ups and inescapable downs of nightlife, from every drunken stumble through “our city’s blues” to the sobering walk home where “the horizon changes hue”.

Euphoric is full of the signature touchstones of Rostam’s production, but both his trademark focus on intricate percussion and sonorous piano feel oddly at home amongst the dance music structure. Contributing an array of bespoke textures, Euphoric’s production marks a clear progression of sound for the artist, taking on new forms in the Robyn-esque ‘All Night’ and ‘The Dream’ – a track reminiscent of an early Imogen Heap.

Though the album can feel dangerously repetitive at times, slower takes like ‘So What’ act as a reprieve from these moments. ‘Live Like We’re Dancing Part II’ strips her previous collaboration with Mura Masa down to its bones, resonating more than ever in the face of Georgia’s new acceptance of sobriety.

Her voice echoes like a guiding presence, warning against getting lost in a night's forgettable haze and instead advising us to hold on to any feeling of remembrance that we can. She calls out to friends and fans alike to join her, proving that communities come in all shapes and sizes – and whether you’re seeking “redemption” or “salvation”, Georgia’s dancefloor is clearly the place to be.