Hey there. I'm Osman Farooqui and this is The Drop, a culture show from the Sydney Morning Herald and The Age, where we dive into the latest in the world of pop culture and entertainment. Camp Cope have been one of the most important Australian bands over the past decade since their debut album in 2015. They've changed the sound of local indie rock and they forced the music industry to
reckon with its treatment of women. The music is critically acclaimed and adored by fans all over the world, so it was pretty devastating when the band announced earlier this year that they were breaking up. I caught up with the group to discuss the origins of Camp Cope, what they hope to achieve, the important conversations they started, why they broke up and what's coming next.
Starving. And he was so sick that you are dying. If I was hungry, then you. Stop. Now tell the dead man. I mean, you're the white.
So here with Georgia Kelly and Tomo from Camp Cope ahead of what will be your guys final ever performance together as a band at the Sydney Opera House in October? Gang, it's been a few months since you announced things were ending. How are we feeling?
It's weird, isn't it?
It's weird for me. I mean, it's really nice to be here with all of you, but. I felt odd.
I think it was always going to be weird and like, we love each other so much and this isn't because of like, personal issues. It's just that, like, Camp Cope was like started eight years ago and we were all completely different people and completely different parts of our life. And now we're not like, Kelly's a mom. I live in Los Angeles. Thomas stayed exactly the same.
And looks and looks.
Exactly the.
Same.
It's funny, you look at pictures from from when we started and because I guess, well, I'm ten years older than these two, so it's like you see them and they're like 22 or something. And I'm like these two tiny children and then me. And then in ten years they look like adults and I look like I haven't grown, like I still look like a child and an old child.
Kelly's beautiful coda in the background, weakening. I mean, even this this call that we're all on is, I guess, a signifier of the times. Like you're still here in Melbourne with me, Tomo Kelly's in Sydney with Coda and a in a cut and some sort of funny screensaver on a television.
It's a baby dale and baby sensory videos trying to distract him and he'll still yell the entire time. He's fiery.
Jojo was bragging about being in sunny Silverlake, 29 degrees. Not a cloud in the sky.
Gorgeous.
I'm going to get to what led to this big decision and kind of what's next for you guys. But there's a lot I want to talk about before we get there. I think it's really hard to overstate the impact you guys have had on Australian music and not just in a musical sense, but I also think culturally and socially and politically, since you started releasing music together and I want to go back to 2015, you guys had all been in different bands. George You doing solo stuff?
I think at the time when you decided to form Camp Cope and write and release songs together, can you remember like were you hoping to achieve something where you're like, We want to make one great record, We want to do this for a long time. We are setting out to completely transform Australian music. Would you have any of those conversations?
No.
Oh yeah, totally. Before we even started playing together, we're like, Right, all right. With our powers combined, we're going to change the music industry, We're going to make three albums and one a.
Very specific set of goals. You hear We're going to.
Get in a lot of trouble. We're going to get a couple of cease and desist letters.
You know what's funny, though? Because, no, we didn't. But it was funny because back in 2015, Georgia did say to me once before I think before we did any interviews, obviously that came became a thing. But before we did any interviews whatsoever, George is like, I can't be the one to talk. I'm going to Dixie Chicks Us. And then, you know, a few years later with Dixie. No, I did.
But no, there was there was definitely no I'd quit music already for seven years, so I was perfectly happy in my beautiful life outside of playing music and then slowly got tricked back into it. How did you get tricked?
What was the what was the thing that convinced you to jump back on?
Well, not well. I didn't even really agree to do it, to be honest. I still haven't. But now Georgia was playing solo, obviously, and was like, Do you know any drummers? And I'm like, No, no. But if I hear of one, like I'll let you know kind of thing. And she's like, Oh, well, I just don't know anyone. Oh, no worries. Well, yep, As I said, I'll keep my ears out. And then one day Georgia came to my house and saw a drum kit and was like, Whose is that? And I
was like, God, fine, they're mine. Okay, I'll come over on Saturday and I'll bring a guitar and we can we can play the songs through. And I was like, God damn it! And next. Then next minute there was a show. Yeah. And here we are today.
Oh, and the story of how I met Kelly, we've talked about a billion times. I don't think we need to talk about it.
I want to hear it.
I just kidding. I'm going to tell the story of how we met Kelly So I was getting a tattoo on my ankle by this fucking idiot. Am I allowed to sweat?
You can Absolutely.
Okay. I'm in a really bad house in Footscray and Kelly walks in. She's about to, like, hang out with this dude in a platonic way, by the way.
Okay, good.
And she's like, talking. And there's some, like, people hanging around and then, like, some something said something about Kelly being in a band. And I was like, what do you play? And she was like, bass. And then in my head I had this like, I was like, This is the bass player of the band. This is who's going to play bass? And then I was too scared because I was too scared to ask her. So I had to ask our friend to ask her.
I saw Georgia, so I was living. My first Melbourne house was in Collingwood at this place called Like Rock and Roll High School, the Milk Bar, which had been a venue since like the 80s. And Georgia had come and played a show in our lounge room. And I remember sitting there being like, Oh, she's done really good with the band. And that was the first time I ever heard Georgia say not. I had zero interest in
being in a band ever again. But, um, yeah, so I saw her before she kind of started asking about what I played and things like that too. So I don't know. We were connecting and weird brainwaves, I think.
Even though remember that she said she played the bass. I was like, This is the bass player of the band.
Oh, what are you saying, Kelly? You heard Georgia play and you're like, She'd sound great with a band that's kind of almost a neg. It's like you nearly there. You just need some more noise around you.
When I saw her play, she was playing with the electric guitar and she just had that presence. Like I was like, This girl needs to be fronting a band. She sounds. Her voice is so powerful. She's like the electric guitar. Like it would sound so sick with the band.
And that first day in my lounge room when it was just me and Georgia, obviously it was the first time Georgia had played with drums before. And obviously I'm quite loud and just your face. It's like start playing along to whatever song it was, stove lighter or something, and you're just like, Oh my God, perfect. Move on. Next song I'm we haven't even finished. Like we haven't even done.
Yeah, we got like 10s into each and I was like, Oh, this is perfect. This is going to work. I just know it Next.
I remember when your first record, that self-titled Camco was released. I was hosting a show on FBI radio in Sydney and I remember getting it and it was playlists and it was the first time I ever heard it was like I wasn't cool enough to like see the record and listen to like, Damn, we should play this. Some very smart music director had been like us. You're going to have to play songs from this record. So I'm like, okay, okay,
I'll get familiar with it. And I remember looking at the tracklist and I'm like, Oh my God, these guys have a song about Lost, and they have a song called Jet Fuel Can't Melt Steel Beams. They're insane. What is going on.
Then? You met us. Yeah, yeah, yeah. And then they.
Are.
Then I got to know you guys. I was like, You are insane.
You figured it out before anyone. Everyone thought we were cool, but you knew us. You know, we were insane.
I did also think when I finally listened to it, I was like, Damn, this is amazing. And it doesn't sound like anything else in Australia right now. I mean, can you guys remember the reaction to that first record and why you think it sort of landed as massively as it did?
It's weird because we just had the songs, right? We had like we just had we just did enough songs that were like, okay, we've got eight songs. That's enough for an album, so let's just go quickly, record them all. So we did that in like a day, so it's like.
Recorded the whole thing in a.
Day. Yeah, like live two days, two days, sorry, two days. Including the mixing, of course. So just played it all live. That was all the songs we had. So that's the album. It's not like we were like, these ones are going to be great. It was like and so I kind of guess it was weird when we put sort of gave the songs to Andy from Poison City and said, Oh, I don't know, what do you think? And he's like. Which one do you think should be the single kind
of thing? And he said, lost him like, okay, whatever, you know? And then, yeah, people liked it and was like, Oh, okay, cool. That's nice.
How did you feel about the reaction in Georgia? Were you just writing these songs? You have lots of different interesting takes about the world and television. Were you expecting people to connect with it the way that they did?
I'm not really. I feel like I live on a different planet to everyone else.
I think we all feel that.
I feel like I feel like I. I find it really hard to connect with people like and people really connected with the music. And that still kind of blows my mind. And I wish I could feel like a connection to people, but I don't. But it's nice that people feel a connection through the music. But yeah, it was like, of course it was unexpected. Imagine if I was to be like, Oh yeah, I expected people to react like really well to it and to really love it. That's what I.
Expected.
Like, imagine.
Yeah, no, that's true.
It'd be honestly, you're a journalist. Start to set me up for questions that you know I'm going to.
I just hope out of anyone here, George, you might be someone who would say something like that, and that would be very funny. And then we could make fun of you.
Well, we were on tour, like when we were always on tour. We sort of started and then we just played shows for like seven straight or basically until Covid. We were on tour with Jeff Rosenstock when the singles came out and when the album Preorders went up and stuff. So we were kind of just with them being like, I don't know. And they were like, we sort of sent gave them the link to the album before it came out, and they're like, This is a great album.
We're like, Oh, okay. I don't know. This is play a show. So it was quite nice.
I listen to it now and I'm like.
This sucks a little bit.
I mean, it doesn't suck, but. It's just like. Like, what was I doing? Why was I. Why was I sounding so Australian?
You were sending very Australian.
Yeah, I know. I was just like. I wasn't like singing. I was just like yelling.
Georgia, you're from Australia.
I know, I know.
I mean, I go back and I read things I wrote a week ago and I hate them, but I was listening to that first record a lot this week, building up to this interview. And without, you know, without me, you know, that I'm not just trying to, like, suck up to you guys for the sake of it. If anything, I'd want to do the opposite because of all the shit you give me. But what was amazing was how much Thatrillionecord still stood out, right? Even though it is
eight years old, it still feels exciting and fresh. And there is this sense of something really new and boundary pushing that I know that maybe you, Georgia, you feel like you've progressed and developed as an artist and you sing differently and you sing about different things. But I think it is really interesting how that record still feels like it could have come out last week. In a lot of ways.
It's like, you know, it's a good song, It's a good song. It doesn't matter how it's recorded or how it's like whether it's just recorded on a phone, you know, or, you know, spend $20,000 in a studio. It's like, I think people liked the songs for what they were, and they're like, you know, there was no bullshit. It was like, This is just what it is, and here it is. And it wasn't trying to be anything else, you know? And I think people can see through fake sort of stuff.
And it was just like Georgia wrote the songs when she was, what, 1920. So it's like, you know, it's like this is just what it is and people get that.
Kelly You said before that you decided that you didn't really want to be in another band, and then this record blows up and you're touring pretty much nonstop for nearly a decade, and you were pretty young as well in your early 20s. What was that like?
I feel very fortunate for getting the opportunity to travel to the places that we did and meet the people that we did, but I really struggled with touring and performing. I had a lot of anxiety and when really when world touring and when we're even in the studio, like I did struggle, I don't think I was ever built for that sort of life. There was aspects that I really,
really enjoyed. And I when we first went to the States, I didn't even own a passport because I didn't I never anticipated that I would ever go overseas, you know, And it was a lot of kind of getting used to that lifestyle and then learning along the way kind of what people expected it to look like or what people told you it should look like. And then following your kind of group with not just with you.
But I feel like Camp Cap's always kind of done what people hadn't expected us to do. Like, you know, we made our first album and then the second album there was even less production. There was no harmonies. It was like even Filthier. And now by breaking up, it's like we're still doing things that people kind of wouldn't expect us to do. And I think that's very cool.
A big part of the narrative of the band. We're talking about this earlier and I am, you know, slightly loath to have to go here. Georgia, before you said, Oh, great, we're going to talk heaps about Falls Festival and, you know,
being women in music. But I want to ask you more about the reaction to that kind of moment, because you guys took these stances that were, at the time, probably like ten years too late compared to the rest of all at the time were pretty radical in terms of actually saying, hey, women should be on more lineups and hey, women should feel safe when they go to
music festivals. And in some ways for a period that discourse and those stances became what you were more known for, for a lot of people than than your actual music, where you were all frustrated that that burden fell entirely on women artists, non-binary artists, and kind of basically you guys in that era.
Well, still to this day, like people will send through, you know, interview requests to like our publicist or something saying, you know, someone's done something, a man has done something bad, can you give your take? And I'm like, literally go and ask a man. We've said that for so many years. And you won't you simply will not ask them. You know what our take is? Google it. It was definitely a common sense. It wasn't a planned like, Hey, we're
going to do this thing. It was like I remember somebody asking me quite soon after falls, like, what made you do this? And I was like, What? Do what I was like, Can you can you count? And they're like, Yeah. And I was like, Well, the post is there for everyone to see. I could count how many men are on there. Like it wasn't hidden. It's like this is public knowledge. You just didn't look at it. And we counted it and said it out loud. And now you're
all yelling at us like, Yell at Foles. I don't know.
What we got sent the line up. When we accepted the Falls offer, we wrote back to them and we were like, Where? Where are all the women? And then they came back at us and well, like and like we didn't sign it. Fucking NDA. I can talk about this. They were like, Oh, well if you know any bands and blah blah blah. And then we sent them bands and they like put them on as like special little guests in every like state or whatever. But it's like
that's still the work that we had to do. We didn't get paid for that.
Like, Yeah, you're doing extra work as like a curator.
The jobs that they should have done. And then one of them going on about the diversity bandwagon, a big sound, like acting like that's like a bad thing. Like it's still like it's still bothers me that, like, we had to we had to be the ones to say that again. It's like women's work, though. We don't get paid for. And we got heaps of backlash, even though we were literally just like, Hey, there's nine women, but we make
up three of. So there was six other women aside from us on the line up and we just put that information out there. We just said it and people did with that what they wanted to do.
I think we came from like a music community where there was heaps of diversity. So like, you know, I was going to shows and I lived upstairs at Black Wire and there was there was a bunch of women and people of color and non-binary and trans people making music. And then same I think in the local Melbourne scene as well, there was more diversity than that was being shot at, like the big commercial festivals and radio stations.
So it was a bit jarring to know that these bands existed and really good quality bands of people that aren't just the same type of person existed. And then trying to explain to that and then being told that you're wrong.
I kind of came out playing in a scene with lots of bands with like Four White Men, right? And I came in and I started playing. And at first they all loved me because they could add a girl to the lineup as like the acoustic opener. And then I started talking about it, and then I became the enemy to that scene. Stilt like to this day, and I started, like, calling things out, like being like, Hey, man, in your 30s maybe it's kind of weird that you're
singing about a girl who's 16. Like, it's inappropriate. And it's really problematic and questionable. And yet no one else said anything. And like I put like, you know, we put our necks out for it and yeah, I still get a bit worked up about it.
I think the upsetting thing as well as I think we got branded as these angry people and like people like, you know, we'd do interviews and stuff and the journalists would always be like, Are you guys are just idiots? Or like, Yeah, like we're not angry. Like, the thing with the like, we've never really spoken about the false thing because it's like it doesn't need attention brought to it.
They don't need any attention brought to them. But it's like, you know, all the emails I sent them were very nice. Like I could print them out and show anybody if anyone ever wanted them. I would never though, because who cares? But it's like then it was like your reaction was so bad that it made us look bad. I never
yelled at you. I was quite nice. I was. But I think that was the more upsetting thing that we got tarnished as these bad people when, you know, they were just reacting in a. Bad way to something that they'd done.
Being in camp in the earliest stages. Like I feel like some of that, like some of that, like angry stuff was true because I was like, I was angry because it's like I'm like a fiery Greek woman and out like, dinner's just people yelling at each other, you know? And so I get, like, fired up about things. But it was like being like, Hey, the sky is blue. Look. Oh, my God, the sky is blue. And people not believing you.
It's like there's so much frustration in not being believed that I like anger was like my immediate reaction.
There's such an inherent defensiveness to pointing out a problem exists, let alone actually suggesting how to rectify it. I feel like Australia is. I want to ask you guys this because you've got so much experience touring around the world. From my perspective, it's always felt like Australia is uniquely bad at acknowledging the existence of issues around like structural sexism, misogyny, racism.
Azealia Banks, you know, famously in the last few months has been extremely vocal about saying what is wrong and toxic about the Australian industry, not just from the level of like labels and promoters, but audiences, she says. A really bad you guys have toured all over the world. Like how do you think Australians kind of compare Australia compares?
I mean, think about how many tours we've done in Australia in the last six years. We do one like we probably do five shows. On every album tour, and I think that speaks for itself, really. I mean, if you've got a country that can't acknowledge, you know, its history, you know, indigenous history, everything like that, it's like, how is it going to. Of course, if it can't deal with that, it can't deal with. Something as stupid as music, obviously.
Australia absolutely has a long, long way to go. And yeah, it's a lot to do with toxic masculinity. So I feel like it's a term that's mainly just, you know, boys love being like toxic masculinity and blah, blah, blah, blah, blah. But, like, it's a real thing. And men need to men, they just need to do something about it. Go to therapy.
The thing is, it's like if you go back to the start of music in Australia, popular music in Australia, like I can't think of a single person like, you know, who's not a man, a white man who's stayed like anyone, you know, huge like Kylie Minogue gone, Tina Arena gone. Like I think it's like from the beginning. Like it's like you're gone. Like, you know, people like Courtney and Julia. Angie, they all play overseas. Like, it's like it's an unspoken thing.
But if, like, it's not like anyone stands up and goes, I'm not playing here. It's kind of everyone just leaves because it's like, look, it's just easier to leave than be here. Even we've had men friends in Canada and the US, like who are four white men in a band who play to large audiences of men. And I don't know if you guys remember this when we were staying with them one time in Canada and they're like,
What is with Australia? I was like, What do you mean? Like, obviously there's problems, obviously, but what do you mean in this instance? Like.
The crowds.
Are insane. Like, it's horrible. What is wrong with them? I'm like, worse than your crowds because your crowds are pretty bad and they're like, so much worse. It's like so you can see it. So obviously we can see.
It's so interesting to hear because I feel like I kind of grew up in the hip hop scene and it's a very similar story. You hear from international acts when they come to Australia. They say there's it's so weird, like the energy from these crowds as it toxicity. There's a violence of masculinity there. And I don't know how many Australians know that. They just think that this is
what's normal and they don't know that. Even America, which obviously has so many of its own issues actually bands like playing that more than they like playing in Australia.
Yeah, yeah.
The kind of the last thing I want to ask you guys about this kind of broad topic when you think about the Australian music landscape now, I mean, this is maybe a kind of a tricky question because I don't want to undermine the activism that so many people like you in the music industry did, but like, how much do you think it's actually changed the Australian music
landscape in the last eight years? We were talking just before this interview about how, you know, Jenny, who who plays with you on tour, she's been pointing out on Instagram line ups have gone back to being 90%. I can't remember. It was Georgia. You made a gag about old camp cops gone. Now it's time to just roll out the old male lineups again. Do you think we've progressed at all or are things at risk of getting pretty grim?
I feel like it was like maybe like two step forwards, one step back or like one step forward, two steps back. And I think that I don't know, maybe it is just a coincidence that we decided to call it a day and now line up so regressing.
One thing I will say, though, is you guys have outlasted false festival like your your last gig will be in October and falls is not playing this year. And from what I hear, it might not ever come back. So I don't know if that's a good thing or a bad thing. But you lasted longer.
Upsetting to.
Me.
I don't know. It's yeah, I think what Georgia said is true. It's like, you know, when it's like everything in the world, not just this. It's like anything. Any small change it happens is going to be pushed back and it goes back backwards a bit and then forwards a bit. I wouldn't say that it's worse. Some some aspects of it are definitely better, but there's definitely people that are actively don't like it. So I guess it goes both ways.
Oh, we haven't made maybe as much progress as we probably should have.
No, I feel like we've made a tiny bit, but it's, you know, people are more aware of it. Maybe, definitely. Since like, you know, when when I think I've said this before, when we started how I'd quit music for however long, when I came back, it was like when we first started, I was like, This is literally the same as when I left. So nothing had changed in that period of time. So I feel like the difference between then and now is a small bit of changes happen. Not enough, but a little bit.
I feel like things were kind of moving forward before Covid and then people can really show their true colors when money's involved. So as money fans started to get less and less available, that's when people kind of put the progress on the backburner and just focused on making money again, because I don't think a lot.
Of people talked to kind of diversity in lineups was seen as an extra. A luxury. Yeah. And when we don't have time for luxuries, let's just go back to the bread and butter.
And it was used as a it was used as a weapon, too. It was like, well, I don't know. We haven't worked for two years, so we can't have a diverse lineup. It's like, well, you kind of can.
But it also seems bizarre to me that conversation because looking at what Australia looks like now in terms of diversity across so many different facets, you if you are a venue or a promoter or a festival that just wants to play for white dudes with guitars, you will go bankrupt because that is not what people want to see anymore.
Yeah, it's.
Boring.
Yeah, it is very boring.
Your guys last album, Running With the Hurricane, it came in in March last year. I never asked you this at the time, but. But did you know when you were recording and releasing that, that it would be the last one?
No.
I don't think we've ever really planned that far ahead. What? I think people think that we're smarter than we are. We just know. It's like, I don't know. I haven't planned what I'm doing next week, let alone the next album. Once you're in the studio, it's like, I don't want to do this for ages, but it's you don't go anyway. The End.
But I knew that after running with the hurricane that I wanted to have a break and I wanted to like do the solo thing for a bit.
So talk me through that decision. I feel like when bands break up, people always want to think that there's some sort of like, Oh, you know, talking about having a tour and we all really hated each other and blah blah blah. The sense I get is more you guys had put out three records, you're really happy with them all. Your toured so many times. People were in different phases of life than when you started and you
just wanted to pursue different things for a while. Was there one of you who was the first one to sort of bring it up and say, Hey guys, what if we didn't?
Kelly's putting her hand up.
Tell us about that conversation, Kelly.
I feel like I'm often the most direct. Um, and I can't I'm often kind of like not the mediator, but it's, you know, just different personalities and Georgia and Tomo. And we often try and bring to pick out a lot of things very delicate.
Like if anyone.
Knew all three of us, you'd know that.
The two fiery ones and the and the one he tries to on fire.
And I could see that we're all getting all these different directions. And I just feel like, hey, I think my direction is pulling me away from the band.
And did it feel natural? Like when Kelly said that, it was like, okay, that actually does make sense. We just needed someone to say it.
Yeah, yeah.
Everyone is like, Yeah, cool. I agree. I think as well, like a lot of people have asked about, you know. It's like, Oh, you're going to miss Turing, you're going to miss this. It's like, I don't know. I personally I can't speak for everyone, but it's like I grieved the loss of live music in 2020, like it's gone and it's never, ever going to be the same. Like touring, you know, here last year and touring in the States last year. It's like, this is a different world. This
is not the same. It's like we're never going to go back to what it was. Crowds are different. It's like it's not safe. It's like, you know, the money, it's the expenses are insane. Like, it's like it's not it's not the same. So it's like I'm happy to remember touring as it was and happy that we got to do what we did because it's certainly not going to go back to that. I don't think, at least for a really long time, if ever.
Yeah, I'm very grateful for all the tours that we did. We had so much fun.
Yeah, we got to do way more than we ever thought, I think.
But I think. I think that we needed to break up because, yeah, we're all different people who want different things. Like all our goals are completely different now than they were eight years ago, and like, we love each other enough to respect that in each other and to want, you know, like, I want the best for Kelly and Tomoe. Absolutely. And yeah, being in the band wasn't conducive to that.
It's bad that I'm going to cry hearing that.
Really?
It's very sweet. Yeah. Yeah. I just think it's very, very nice to hear that in any kind of context about a long term relationship where you're making decisions that are about respecting each other's, you know, thoughts, feelings, futures, ideas and giving each other space.
And going.
Out when you want to go out. You know, it's not like we're not being forced to. It's kind of like, well, we've made the decision and it's time. All things must come to an end at some point.
Yeah, because like, my parents split up when I was 11 and it was the best thing that they ever did for their relationship. And they remained best friends who lived three houses apart until my dad died. And it's it's like Camp Carpe, like we're ending the band, but our relationships are all going to probably like still keep growing into like even more like even stronger friendships.
Yeah. Nice. When you guys catch up, you're just there to catch up and have a good time and sob stories and look at how big Koda has gotten rather than talk about logistics.
And not being like exhausted and, you know, stuck in a moving vehicle together for.
12.
Hours a day. Yeah.
George, you're working on solo stuff and you've released a bunch of amazing solo work in the last couple of years. Your music that you're working on now, do you see it as an iteration of of what the band released, or are you just seeing it as a completely different project because you're you've had enough of the camp space for a while.
I think it's completely different because in camp, like I would write all the songs just at home on my guitar and then like bring them to the band. And then we'd kind of like flesh it out together. And now I'm doing songwriting in a completely different way by like going into songwriting sessions and like making songs with
like producers and stuff like that and like, just. I know there's a bit a bit more like wiggle room and what I'm doing now, like if I want like a thousand instruments on it, that can be a thousand instruments. Whereas like in Camp Carpe, it was like, Well, this band is us three, and that's what it's always been. And it's about what we create together, you know? And my solo thing is just completely different to that. Like, it's not going to sound like it's not like nothing
will ever be Camp Cope. I'm always going to be Jorja Mack from Camp Cope and Camp Camp was like the, like the best thing I ever did. Like, I love camp so much. We fucking rocked. We were so good and. Where you did so much good and we were the best. But now I'm going to do something different and it's going to be the best in my own, you know, in a different way. You know.
Tom and Kelly, you both have been here before where you've finished band and you said never again. I mean, would you guys think about getting back in the game for for another project? I mean, you might already be. I actually don't know if you're already cooking something else up.
There's about five drummers in Melbourne, so you can imagine three minutes after we announced the breakup, it was like, Oh, interesting. Um, do you want to give me a minute? I'm going to say for now, I need a rest. Yeah, I need to watch the TV for a little while.
Yeah.
A lot of reality TV and footy and beers to sink.
Yeah, yeah, yeah.
I've got a cat to deal with. No time for this rocking.
How about you, Kelly?
Uh, I can't imagine it. Like, people are constantly asking, but it's never say never. But yeah, my focus is just really off by right now. And not just with a baby. Just with. And because and Cameron, I've built something different than than what I found. I think it's. Uh, nice and left to kind of do a bunch of
different things and see what works best for you. And I don't know if being a musician was the best thing for me, so I want to explore some other things before I think about going back to it.
Hey, Kelly Thomas and Georgia, thanks so much for talking to me. I'm really excited about October, but I'm also really sad.
It will just be one last hurrah and the goddamn concert hall.
Thank you again, guys.
Thanks for having us all.
Thank you, Osman.
This episode of The Drop was produced by Wong. If you enjoyed listening to today's episode of The drop, make sure to follow us in your favorite podcast app. Leave us a review or better yet, share it with a friend. I'm Osman Farooqui. See you next week.