British soul-R&B songstress and producer Geo Baddoo and her new single ‘Look At Me’ has arrived.
The track is a rich and textured deep house, soul and jazz fusion gem that finds Geo at her most assured and open, exploring themes of visibility, vulnerability, and reclaiming self-worth. It’s a bold statement on being seen without being performative.
Geo has been supported by BBC, COLORS, and VIBE Magazine, among others, and has been honing her live presence at iconic venues like Union Chapel in London and Brussels’ Ancienne Belgique.
360 MAGAZINE interview with Geo Baddoo
- ‘Look at Me’ is a soulful, sensual summer song that blends house and afrobeats undertones with your signature soul-R&B sound. What inspired the track sonically and emotionally, and how did your time in Los Angeles help shape its direction?
The spark for the song came while I was in LA and heard the original version of the instrumental at just the right moment. When I’m over there I’m often in industry spaces and I’ve always found it interesting how people act. There’s usually a sense of performance in those environments. That energy isn’t just limited to LA though. You can feel it in other high-pressure or ‘competitive’ spaces too, like social media, where we often construct a version of ourselves that we want others to perceive. Over time, I’ve become more and more aware of those dynamics in others and in myself. On that particular trip, I felt different. Just more grounded and more at ease. I didn’t feel the need to prove anything, and that headspace inspired the song’s message. Sonically, the track was produced by Tytanium, who talked about blending Afro, house, and jazz influences.
- If you had the chance to create a monster remix of ‘Look at Me’ with any artist in the world, who would be your dream collaborator—and what would they bring to the track that excites you most?
Hmm, maybe Tom Misch. He has several tunes that really capture a summer feeling for me, and he’s so versatile but always has an authentic, soulful, fresh, effortless vibe. I feel like he’d bring something cool to the track and take it to a new place.
- Your plate has been full with a wide range of creative projects lately. As we move into the second half of the year, what’s next for you—whether musically, personally, or even something outside of the spotlight?
I’m working more collaboratively and dipping into new genres at the moment, so people can expect to hear variety from me. Since moving to London, I’m also adapting to a new pace and new production methods. A big part of this involves independently refining my vocal production skills. So that’s definitely a focus for me for the rest of the year. I really just want to continue improving as a musician forever!
- You’ve spoken about the track being a celebration of integrity and staying grounded in a noisy, ego-driven world. How do you personally manage that balance between visibility and authenticity, especially in an online age?
Honestly, I’m still figuring out the balance, but I’ve learned to notice when I need to just lock my phone and step away. I’m getting good at recognising a misalignment – it’s a clogged up feeling and self-doubt is a big red flag. In those moments, I have to stay tapped into real life and tuned into my own rhythm and purpose.
- Tytanium’s production on ‘Look at Me’ brings a lush and fluid energy. What was your collaborative process like, and how did you both arrive at the final sonic feel of the track?
The whole process was remote! I was in LA when I first heard the instrumental and immediately started freestyling some ideas. I ended up reshaping the structure a bit to match the vision I had, then recorded my vocals with some production ideas and sent it over to Tytanium. He took it from there and it all came together really naturally and easily.
- The lyrics “I’d shine like a star if you let me” and “I don’t wanna hide anymore” feel powerfully vulnerable. Was there a turning point or experience that helped you reclaim that sense of self-worth and voice in your artistry?
Like many artists, I went through a period of crippling doubt and fear that led to basically complete writer’s block. Since then, I’ve worked hard to reconnect with myself and my free creative spirit. I’ve developed a lot of resilience and it gives me a pretty unstoppable feeling when I can bounce back from things and recenter myself. I’m just really sure of the path I’m on. I’ve written a lot of songs about the different stages I’ve been through with this mentally, so Look At Me captures a mental state that I always want to come back to.
- You’ve performed at iconic venues from Union Chapel to Genghis Cohen. How do live performances shape or evolve your relationship with your songs—and what’s one moment on stage that has stayed with you?
Most memorable is probably Union Chapel, when I supported The Teskey Brothers on tour. I was performing an old song of mine called ‘Lonely Blue Messiah’ which was very meaningful at the time, and the setting was just picturesque. It was sold out and the audience were sitting in pews, the lighting was illuminating the stained glass windows, and directly in my eyeline when I looked up was Jesus! I was feeling pretty ethereal, like I was gonna lift off the ground. I love performing live – to tell stories and see faces and connect physically is a unique exchange that I appreciate. I look forward to playing more shows!
- Your work often moves between softness and strength. How intentional is that contrast in your writing and production choices, and how does that duality reflect who you are as a person off-stage?
Duality is a part of human nature, and I see it clearly in myself. In the past, I found it confusing and wanted to know which version was the ‘real me’. But now I’ve learned to embrace it and allow myself to be more than just one thing. So while contrast in my work is intentional in the sense that I want to honour all sides of myself, it’s also intuitive because everything always comes from a genuine place. I feel like I possess a lot of traits that might be considered contradictory. I feel like a lot of people would relate to that.
- You’ve cited artists like Sade, Alicia Keys, and Tracy Chapman as influences. How do you draw inspiration from their work without losing sight of your own voice?
I don’t think I often directly pull sonic inspiration when making music. I think my musical taste is just ingrained in me like a palette and comes through subconsciously. I do pay attention to how artists I love perform, talk, and engage with others though. I’m very interested in who they are outside of their songs, to understand their view of the world and of their art. Their unique perspectives are inspiring and so individual, so it prompts me to consider myself and my own unique perspective.
- As a British soul-R&B artist with global aspirations, what does success look like for you right now—internally as much as externally?
I think success for me right now is to keep my integrity and continue growing and evolving. I know there’s so much music inside of me to come out, and success means giving life to it by honing and exploring my craft, and then sharing it.
