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Lungs celebrates its 10-year anniversary
As Lungs, the incredible debut album by Florence + the Machine, turns 10 years old today, the band release some special surprises…
(C) Tom Beard
Lungs, the ground-breaking debut album by Florence + the Machine, turned 10 years old today (3rd July 2019). To celebrate, Florence + the Machine have released lots of little goodies for all the fans to enjoy, showing that the album continues to influence and shape modern music, even to this day.
Released on the 3rd July 2009, Lungs was a “scrapbook” of songs written by Florence Welch during her teenage years up until its release when she was 22. Kiss With A Fist was the first single released from the album way back in 2008, but it was Dog Days Are Over and subsequently Rabbit Heart (Raise It Up) and You’ve Got The Love which sent Florence + the Machine high into the dizzying heights of success. Its critical acclaim won the album a BRIT Award in 2010, as well as a Mercury Prize nomination and 3x platinum status in the United Kingdom.
To celebrate, Florence + the Machine are releasing an anniversary edition of the LP - a red colour LP, cassette, and an exclusive double vinyl box set.
As well as the new LP release, Florence + the Machine uploaded the much-loved but rare demo versions of two pre-Lungs songs: Donkey Kosh and My Best Dress, which are now available to listen to on all streaming sites and YouTube.
Lastly, let’s not forget the tributes you’ve all paid to the album to mark its monumental decade. Check out this wonderful podcast which goes through Lungs and its memories track-by-track.
“This album is so incredibly poetic; I must’ve listened to it a hundred times from start to finish in just the first month after it’s release. My favourites have changed throughout the years, each song’s meaning hits me differently as I’ve grown, but Between Two Lungs is the definition of music as art. Thank you, Florence + The Machine, for continuing to share your gift with us for the last decade.”
“One of the best pop/rock album EVER!!!! So fresh, creative and powerful!! And the vids, the remixes... She entered the ball with a bang and never lost it! She’s mesmerising on stage!! Happy birthday to a funking great album!!!”
If you have any tributes or words you’d like to add, feel free to comment and we’ll add them in!
Join our STATIONHEAD British Summertime Festival warm-up broadcast
We’re hosting a pre-British-Summertime-Festival warm-up radio show on the 11th July 2019, so feel free to join in!
We’re hosting a special radio show to warm up for British Summertime Festival 2019, hosted on the radio app STATIONHEAD.
11th July 2019, 19:30 UK time
Simply download the app (download here) and find our station @fatmfanclub. We’ll be playing some of the band’s greatest hits discussing what set-list we’d like to see, the Between Two Books tent, the ‘stage-show’ and promo video, plus lots more! We’ll also phone in a few fans to join in on the discussion live, and be taking your song requests.
The app is only available for iPhone users at the moment, unfortunately. However, we will be holding an online discussion in the comments section of this page too, so anyone can join in.
See you then!
Florence Welch Features in Q Magazine 2019
Florence Welch covers the July 2019 edition of Q Magazine. Check out the photo gallery included.
Florence Welch features in the London Evening Standard Magazine [Gallery]
Florence Welch features in the Evening Standard Magazine, with stunning photos by Bella Newman
Florence Welch features in this week’s Evening Standard Magazine, with some pretty beautiful accompanying photos.
Shot at the Clapton Tram plant-cladded studio by Bella Newman, the interview includes Florence discussing her past of addiction, and the problems touring has brought to both her personal and professional life.
The magazine is out now to pick up for free, and you can read the interview here: https://www.standard.co.uk/insider/alist/florence-welch-touring-s-lonely-now-i-m-sober-but-the-fans-save-me-a4171141.html
Vogue Magazine 2019 - A frank and personal note to self, by Florence Welch
Florence Welch bears all in a personal letter to herself, detailing her journey from her teenage past, into the present being. A deeply moving and frank piece for British Vogue 2019.
Sometimes I’ll recall something stupid I did as a teenager – like trying to get a face tattoo at 14 – and I’ll have to sit down and catch my breath. Because I can’t believe I got away with it, that I survived those years. Or maybe I didn’t? But at least I’m still alive.
It takes a while to understand your worth, I got sober when I was 27, a few months after my birthday party, where my mother made a speech – a plea, really – to my friends to try to keep me alive and out of the notorious “27 club”. After she’d finished, I put my face in my cake and got into the shower fully clothed. That day, I would never have believed my 30th birthday would be a sober, calm affair with nice friends and nice food that I actually ate; that I would have already waved the white flag at the party, one arm fluttering from the floor, I surrender, I’m done. After all, I’d been planning the alternative, week-long bacchanal to mark the end of my third decade, since my teens.
I tend to look back on that time with a mix of nostalgia and terror. There’s a part of me that is in awe of that girl, her total disregard for self-preservation, how she could run at the world headfirst, eyes closed, with no care for the consequences. But I also want to hold her in my arms, say “It’s OK, you’re OK, you can come down now. You’ve been screaming at the top of that tree for a bit too long.”
Although I admire it in a seasick way, a lot of my bravery in my teens and early twenties came from a place of self-loathing. I was able to push boundaries and take chances because I wasn’t very fussed about whether I came back alive. Oblivion was usually the goal. I don’t know if it was owing to societal pressure or a genetic predisposition to perfectionism and anxiety (eating disorders and addiction are rife in my family) but somewhere along the line I had learned that I was wrong, that I was not good enough, not smart enough, not thin enough. I was so angry with myself all the time. How that happened, I don’t know – I am still trying to understand what makes young women go to war with themselves. But the judgement choir never stopped singing. It still sings now, though not as loudly or as often, and when it does, I try not to self-medicate with straight vodka or starvation.
Sometimes I miss the wildness of my teenage years – breaking into abandoned buildings, climbing trees in Soho Square, staying out for days, picking up outfit and bruises on the way. I was pretty feral for someone who still lived at home, albeit in a house of loving but absent academics and six teenagers, where it was easy to slip under the radar. Everything was terrible and wonderful and everyone was always madly in love or completely heartbroken, often in the space of half an hour. I had some deeply questionable sartorial phases, from “drunk librarian” to “drunk bat witch” and I now know for certain that a centre parting does not work with a large Edwardian forehead. But most of it I wouldn’t take back.
It was strange to let go all of that and I grieved it for a while. Being a musician and a blackout drinker can lead you to have a rather coddled existence, and make it hard to grow up. Partying was, I felt, a defining feature of my personality – good at singing, good at drinking and good at taking drugs. (Note: if you think you are good at taking lots of drugs, it usually means you are not good at it and will have to stop eventually, or worse.)
But the new-found thrill of leaving somewhere with all my belongings, having not been felt up by someone inappropriate in a car park, has still not left me. It feels miraculous to spend my Mondays working or reading rather that binge-watching Bake Off, unable to move, intermittently weeping into a pillow, hoping the bunting will block out the regret. There are other everyday miracles, too. I haven’t weighed myself in four years – I have no idea how much I weigh right now. Five years ago, I could have told you how much in the morning, at night, clothes on, clothes off. With and without jewellery. To let go of that sometimes feels a bigger achievement than headlining Glastonbury. It may sound as if I’m being dramatic (who, me?) but anyone who has lived under the tyranny of the scales will understand how much it takes to trust your body. I thought my relationship with food could never be normal; I believed it was damaged beyond repair. But I can honestly say I don’t really think about it now. I don’t diet. I don’t fucking “cleanse”. I try not to think of any food as bad or good. It took me a long time but the obsession has lifted. And I had to do the worst thing I could think of – start talking about it. An eating disorder wants you silent, ashamed, isolated. It will tell you anything to keep you all to itself. It’s probably telling you right now that you shouldn’t say its name, that it’s your friend. But your body is more that a thing to be looked at, it works with you, not against you. You do not beat your own heart.
This is not to say that I have all figured out – I am not a beacon of sanity. If you have denied yourself nourishment, you can often deny yourself emotional nourishment, too. I find it hard to accept love, hard to accept stability. A large capacity for joy means an even larger capacity for gloom. I can still come off stage with a crowd applauding and go back to sit alone in my room, scrolling through my phone until I’ve found enough things to make me really unhappy. Unflattering paparazzi pictures are good for that, or outfit mistakes that won’t die. Although I love social media as a way of connecting, it’s also a handy tool for digging your own personalised shame hole.
Self-harm is a shape shifter, but I’m working on it. And the more honest I am, the happier I become. I don’t believe in self-destruction as a means to creativity any more. And the less preoccupied I am with what I look like or what I did last night, the more energy I have to give to my work. I managed to be successful despite my demons, not because of them.
I wonder if my young self would be horrified at my Friday nights now: eating pasta and watching TV with someone who is nice to me. Would she think me mundane? I have certainly had journalists bemoan to me “the lack of rock stars behaving like rock stars” but hedonism never gave me the freedom I desired. And I’m no longer sure about the rock’n’roll behaviour often expected of artists. Too many talented people have died and the world feels too fragile to be swigging champagne and flicking the finger at it.
Most of my friends that I drank with have had to stop. They wash up one by one like driftwood, and we stand together on the shore in shocked relief. We cook, we talk, we work. People have started having children and going to bed early. And all the boring “grown-upness” that we rejected then now seems somehow rebellious. It is an act of rebellion to remain present, to go against society’s desire for you to numb yourself, to look away. But we must not look away. To self-crucify in the name of art always means that the art stops and another voice is lost. At this time in our history, it has never been more pressing to have as many voices singing as we can.
“You Do Not Beat Your Own Heart” - View Point by Florence Welch, in British Vogue Magazine July 2019, out now
Florence Welch to feature on new Adam Green album
Florence Welch is set to feature on the new album by Adam Green, titled Engine of Paradise, out in September
Florence Welch is set to feature on the new album by Adam Green, titled Engine of Paradise. The album was also recorded by Florence and the Machine's very own Loren, who is the band's bassist.
This is the first song Florence will feature in since the release of her cover of Elton John's 'Tiny Dancer' last year, for the Elton John Revamped tribute album.
Adam's album will be released some time in September, and we'll continue to update this post as we receive more news.
Florence Welch covers Harper's Bazaar Russia [Gallery]
Florence Welch photographed by Nick Hudson for Harper’s Bazaar Magazine (May 2019)
Florence Welch croons on Game of Thrones with Jenny of Oldstones
The keen-eared amongst Florence + the Machine, and Game of Thrones fans alike, may have a heard a familiar voice singing at the end of the season 8 episode 2 into the credits.
The keen-eared amongst Florence + the Machine, and Game of Thrones fans alike, may have a heard a familiar voice singing at the end of the season 8 episode 2 into the credits.
None other than our very own Florence Welch was approached by David Benioff and Daniel Weiss, who have produced and written the final season of Game of Thrones, to work with the show’s musical composer Ramin Djawadi on a song he had written titled ‘Jenny of Oldstones’. The haunting song first appears within the episode itself, sung by Podrick, and then again by Florence in the credits.
According to the show’s producers, Florence was approached by them to sing ‘The Rains of Castamere’ in previous seasons, but Florence turned down the offer. The band’s music was also used for the season 2 trailer (Seven Devils), and so the producers are clearly big fans. This time, Florence was delighted that she was chosen to sing the track. Speaking about the opportunity, Florence said:
The notes of [the song] sounded like a Celtic folk song to me. I thought it was really beautiful. I love the idea of dancing with ghosts and never wanting to leave. That totally makes sense to me. I feel like I do that every night on stage.
I worked with Thomas Bartlett on “High as Hope,” and he’s a piano genius. He helped formulate the chords, and then I kind of added my choir, my hellish soprano. We just tried to keep within the “Game of Thrones” world, to retain the ghostliness of it.
What I wanted to do with this song was keep it as sparse as possible. It does get a bit more rousing at the end, but I really wanted to retain the simplicity of the melody and the lyrics that they sent me, because I found them so moving. If I had known the history of the song, I would have been like, “[Expletive], we need fanfares, and you’re going to have to get a dragon on here somehow.” I might have — as I can do sometimes — overblown it. So I’m glad I didn’t know then, but I’m glad to know now. You want the beauty and the fragility in there as well. I would have made it too big, if I had known just how [expletive] big it is!
The song itself is in direct reference to George R. R. Martin’s fantastical world. In the novels, it is mentioned that Jenny was a peasant girl who won the heart of Prince Duncan Targaryen. Duncan eventually married her, against his father’s wishes. Because of this, Duncan had to abdicate his title as Prince of Dragonstone and release his claim to the Iron Throne. This made his nephew, Aerys II (later known as the “Mad King”) the rightful heir to the Iron Throne. During the tragedy at Summerhall, King Aegon V Targaryen (Duncan’s father) tried to hatch a clutch of dragon eggs. Somehow, a fire started and consumed the pleasure palace, killing him, Prince Duncan, the Lord Commander of the King’s Guard, and many others in his court.
Florence + the Machine also recently debuting the song live on the second leg of their US High As Hope Tour, which you can watch below.
Florence + The Machine perform 'Jenny Of Oldstones', featured in the final season of Game Of Thrones, live at Form Festival 2019 Featuring Kelsey Lu.
Interview with Tom Monger - Fan Club Exclusive
We were extremely fortunate to be able to conduct a fan question and answer session with Florence + the Machine harpist, Tom Monger. We asked you for questions, and this was his reply…
Tom Monger at Orange Warsaw Festival 2014, by Marek Wilczyński
We were extremely fortunate to be able to conduct a fan question and answer session with Florence + the Machine harpist, Tom Monger. We asked you for questions, and this was his reply…
After we played “Dog Days” the crowd cheered so loudly I had to cover my ears. Our sound guy told us afterwards that the cheering had sent the decibel level machine off the scale...
Luana Thomas, Ronda Jenae Anderson, Patty Groom: You are an exceptional part of the band, and without you they wouldn’t be anything. The harp makes the difference!
Tom Monger: Thank you so much. It means a lot. When I was growing up, music gave me a lot of joy, excitement, comfort and support and I always hoped that, as a musician myself, I’d have the opportunity to do the same for others. I’m really grateful to have been a part of something that means a lot to so many people, and grateful for the support you give us which enables us to keep going :-)
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The Florence + the Machine Fan Club: We asked Florence to answer this when we interviewed her too: summarise the Florence + the Machine fans in one word/phrase.
Tom: “Extraordinary”
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Emma Sluyter: What do you think your life/career will look like in 10 years?
Tom: Mmmmm...well...going on the last ten years it would be difficult to predict! It was only 7 ½ years ago that I met Isa for the first time, and that was purely a chance meeting. I still have to pinch myself sometimes. I just hope I’ll still be doing this, and hope I’ll have the experience of working with as many people as possible and do something new and exciting. In terms of my life, obviously becoming a parent changes your whole perspective. I’m still kinda getting used to that... I’ve given up trying to predict what life has in store for me because it doesn’t work like that ;-)
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Amelia Lord, Krista Aasen, Lucy Smith, Emma Goffe, Natalie Jayade: Which is your favourite Florence + the Machine song to play, and your favourite song you’ve covered with the band?
Tom: It changes from time to time, but I guess “What the Water Gave Me” is probably my most consistent favourite. I also really enjoyed it when we did “Strangeness & Charm” and “Seven Devils”, but we don’t do those ones as frequently.
My favourite cover would be when we did “Fairytale Of New York” with Billy Bragg...partly because I think it’s a great song, partly because Billy Bragg is one of my all-time favourite musicians (and I urge every single one of you to check out his album “Don’t Try This At Home” because it’s one of the greatest albums of all time) and partly because I thought we made a pretty good job of it!
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Plinio Morais, Nicolás Valiente, Joel (@ShakenByAStorm): What song was the most difficult to learn and to play?
Tom: “Breath Of Life” was probably the most complicated one to learn as there were so many different sections...I remember having to have a crib sheet with the chords written out on the floor the first few times we played it live.
“Rabbit Heart” is probably the trickiest…there were about three different harp parts going on, on the record, so having to play all three at the same time when we do it live is a bit of an operation, but I’m beginning to get the hang of it ;-) It was even more complicated when we did it on the “Lungs” tour, as I was also triggering the “raise it up” [pre-recorded] backing samples, which meant there was something else I had to concentrate on. We’ve got better technology now, so I don’t need to worry about that any more. I used to have to do the same for “Strangeness & Charm” and there were a few nights when I wished I had an extra set of arms.
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Tessa Lucas: Coconut or watermelon?
Tom: Watermelon...my daughter’s allergic to coconut so we don’t have any in the house.
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Aphrodite Strigou: The harp is maybe one of the band's trademarks among with Florence's powerful voice... How do you feel when people recognise Florence and the machine as a solo artist when you are a very important part of the band?
Tom: Well, it’s OK as long as I get my credit on the album sleeve for the songs I play on.
There have been some occasions when someone else unrelated to the band has tried to claim that they were the harpist with FATM, which annoyed me a bit. Also, an item in a certain leading UK-based music paper said something like “Florence was backed up on stage by her band and a harpist”, as if, despite having toured with this line-up for the previous 4 years or so, I was a separate entity to the other guys. It just goes to show how much notice some people take.
And of course there was the time when all the reviews of “Dog Days” commented on the “ukulele” or “mandolin” at the beginning, but I think that’s been covered before...
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Katie Scrivener: What were your career intentions before Florence and the machine?
Tom: To be part of the best rock band on the earth.
I actually had several ambitions: to play on a number one record, to play Brixton Academy, to have a platinum disc on my wall, to play Top Of The Pops and Jools Holland...the only one I’ve yet to achieve is to play on the Pyramid Stage at Glastonbury, but maybe that will happen one day...who knows. Then I can die happy.
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Gill Santos: how involved are you in the producing and making of the songs and album? Do you make an input as a member of the band or do you just play Florence's vision?
Tom: It depends on a number of things. We all have some level of input into what each of us does individually, certainly in the live versions. Flo has definite ideas, and sometimes one or two members of the band will have suggestions for someone else. We’re all very creative and we’re really good together both professionally and personally. Sometimes it can be challenging to create a version of a song for live performances. For example, ”Breath of Life” has an orchestra and a choir on the record, so we had to find a way of recreating the drama with just the band. Everyone was very involved with that, but obviously Flo and Isa took the lead as it was their song.
Working on “Ceremonials” was very band-oriented. We all got together in a rehearsal studio for about three weeks with the demos and worked solidly on the parts and the overall sound of the band, so by the time we went into record we’d pretty much worked out what we were going to do. Some bits got tidied up in the studio, but the foundations were there.
I guess a lot of it depends on how far developed the song is too. For example, the main harp riff on “Dog Days” was there on the original demo that Flo and Isa sent to me, except it was played on a synth. I just transferred it, and added the little melody that comes in on the third verse. Some of the “Rabbit Heart” parts were suggested by Flo and Paul Epworth when we were recording it, and the melody at the end of “No Light” was written by Isa when she originally wrote the music.
But then you have something like “Cosmic Love” which was a very new song when we first started performing it live, and I kinda developed my part over the course of the UK tour. I remember doing the part for “I’m Not Calling You a Liar”; I was working in an office just around the corner from where I lived, and Isa sent me a demo one morning. I loved it so much, I ran home on my lunch hour, worked out a part and sent it straight back to her (no one seemed to notice when I got back to my desk in the office over an hour late). I think that one and “Cosmic Love” are the ones I’m personally most proud of.
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Roman Hallows: Where do you feel like the band is musically at this point since we've seen the more organic side to the band and then a more orchestrated, more instrumentally heavy mix?
Tom: It’s important to never stay still...well, you can I suppose and some people do, and go for 10-20 years making the same album over and over again…but that’s just uninspiring in my opinion. It’s supposed to be an adventure as far as I’m concerned, so anything could happen. Maybe we’ll make a smooth-acid-funk-jazz house album one day...
I’m really grateful to have been a part of something that means a lot to so many people, and grateful for the support you give us
Margaret Shelega: What’s your favourite place in the world?
Tom: Whilst I type this I am recovering from an 11 hour flight back home from San Francisco and feeling very jetlagged and dopey...so right now my favourite place in the world would be my bed.
It’s hard to say though because, although we’ve been to a fair few places on tour, we don’t always get much of a chance to actually “see” them. We’re either travelling on the bus, or in airports, or working. I always enjoy New York and Sydney, and I miss them if we don’t go there for a while, but they are both places that we’ve actually spent a decent amount of time in and have been able to actually experience properly. I’m sure there will be other places to add to that list once I get to know them better.
I was recently reading a book called “America Unchained” by Dave Gorman, which documents a trip he took driving across America from coast to coast. There were passages in the book which I found very evocative of when we’ve been travelling a long distance through America and it made me want to experience that again. It’s such a vast country and has so many different terrains and cultures; it’s such a great thing to have been able to do and I’m very glad that I’ve had that opportunity.
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Malcolm Calder, Elisia Crowther-Missen: I remember during the encore at the O2, Florence quipping something about 'the harp has lost its mind', and that the harp had gone out of tune. How difficult is it to tune a harp? I would have thought with the number of strings it would be quite difficult, and not an easy thing to do mid-show!
Tom: Yes, I remember that gig well. what actually happened was, I have my harp going through a laptop which contains all the effects I use, so basically instead of having about 40 guitar effects pedals, I have the effects on the laptop and I only need 4 pedals to control it. Anyway, at the beginning of “Dog Days” I use a delay effect, and I’d set it up, and just as we started, my laptop crashed.
At the beginning of one of the best known songs.
In front of 30,000 people.
Thanks, laptop!
It is pretty difficult to keep in tune, especially under the lights, and transporting it...some harps keep their tuning better than others. There was one tour when we hired a harp that just refused to stay in tune and I spent the whole tour with my right ear clamped to the sound-box when I was playing so I could sort it out if it got too bad. What’s REALLY annoying is when you break a string halfway through a gig, because it’s usually a string that you use all the time...and it usually decides to break just before “Cosmic Love” or “Rabbit Heart”, or one of the other songs when the harp is quite prominent
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Donald Lucas Lorance: If you had to pinpoint your single greatest achievement, what would it be?
Tom: Leaving home and managing to survive and build up a lifestyle in a different part of the country. Don’t get me wrong, I love where I grew up, but I’ve seen so many people I grew up with who have either stayed there, or moved away and then gone back later. They’ll probably never leave and that’s probably fine for them, but it wouldn’t have worked for me.
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Michael Kayaerts: If you had to choose one major hit from the moment to cover with FATM, which would it be?
Tom: Hah...oh dear. I’ve got no idea, my listening habits right now are either 90s techno or crazy-ass-head-mash music. I don’t suppose “minipops67” by Aphex Twin counts does it? Actually, my favourite song of the year has been “Red Eyes” by War On Drugs...wouldn’t mind covering that one.
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Holly Davis: What has been the most memorable moment for you during the time you’ve been part of Florence + the Machine?
Tom: So many memories and stories, I don’t know where to begin. This weekend we played The Bridge School Benefit in San Francisco, and it was such a great experience (and quite emotional too) that it’s going to stay with me forever as a treasured memory.
To answer your question though, I would probably say the time we played the John Peel Stage at Glastonbury in 2009. “Rabbit Heart” had been released at the beginning of that week, and “Lungs” was coming out just over a week later, so everything was still quite new. We walked on stage and the crowd was HUGE...they stretched out beyond the tent and up the hill behind. After we played “Dog Days” the crowd cheered so loudly I had to cover my ears. Our sound guy told us afterwards that the cheering had sent the decibel level machine off the scale...truly a memorable event.
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Leah Moloney: What’s the best part of being a daddy?
Tom: Just being with that beautiful little girl; watching her develop and discover new things, hearing her little voice... It’s truly fascinating to see her learn new skills. She’s just started walking so we’ve had to start baby-proofing the house! It’s just so overwhelming how much love I have for her...I can’t put it into words.
Interview with Florence Welch - Fan Club Exclusive
We were lucky enough to be given the opportunity to conduct an exclusive question and answer session with none other than Florence Welch herself! We asked you back in April 2013 to send in your questions, which we then put to Flo. Here are her answers…
We were lucky enough to be given the opportunity to conduct an exclusive question and answer session with none other than Florence Welch herself! We asked you back in April 2013 to send in your questions, which we then put to Flo. Here are her answers:
Hannah Mcgregor, Ankit Kapoor – How does it feel when people say that you are their idol and that you inspire them (i.e. people getting tattoos like Emily above?)
Usually I feel quite protective over them because I almost feel a little responsible for their head space. I know my head can be quite a dark place and I know I’ve been quite conflicted when I’m writing songs, so when someone is very connected with a song they may have gone through something similar so that makes me feel protective.
But it’s also weird because in your own head when you’re walking around you don’t feel very inspiring.
Terri Robbins – What was your last dream?
It was a bad one, it was about all my ex boyfriends
Aisling Devery, Kate Litman, @WeAreShining_ – What Hogwarts house would you put yourself and the other band members in?
The people in this room think I’d be a Hufflepuff
Rob and Chris - Griffindor
Isa - Ravenclaw
Tom - Slytherin, because he’s an evil genius
Mark - Hufflepuff, with me
Rusty - Ravenclaw
Federica Calzolaio – What’s the strangest thing a fan’s ever told you/done?
People send me lots of things to make spells with, haven’t quite figured out how to use them yet...
Cheyenne Rose Gentry – What’s your favourite meal/food?
Sushi
Shannon Lafferty, Michael Kayaerts, Liza Gayduk, Katie Simpson, Miranda Lorance – Where do gifts you get at concerts/stuff you are sent end up?
I keep them in my tour case and then my mum archives everything.
Laura Van Meel, Georgia Barlow – What’s your favourite song to perform live and why?
It usually correlates directly to whatever I’m going through at the time, if I’ve been having a tough time I find Shake It Out really cathartic. It’s weird though sometimes half way through singing or performing, a different meaning will come to me or I’ll see the song in a different way.
Maggie Nguyen, April Thompson – What’s been the most embarrassing moment in your career?
There have been loads, my whole life is just a whirlwind of embarrassment!
Janna (@jannamayy) – What’s your favourite thing to have on toast?
Really good question – peanut butter, or I did just buy some amazing fig jam.
@Sariya_97, Emilio Rodriguez – What one word would you use to describe us (the Flows)?
I guess I’m always really inspired by everyone's creativity, so I’d say creative but that one word wouldn’t some you guys up.
Annika Bonde – How did you and Isa meet?
At various wowow squat parties and she used to baby sit my cousin. There’s an exhibition going on right now called from wowow to nownow at the movie museme, where you can see lost of pics of Isa
Ada Polcyn, SADling – Why is your instagram name “Ouhoh”?
I asked my lovely PA Hannah to set it up for me because I can’t use the internet, but she’s also dyslexic so between the two of us we couldn’t spell uhoh properly and it ended up Ouhoh
@GirlWithOneEye9 – What thing is always in your fridge?
Coconut water, pesto, yogurt
Jimena (@glitterwelch/@unnamedcried) – If you could name your fan-base anything other than the “Flows”, what would it be?
Friends
@han_machinee – What’s been your favourite stage/red carpet outfit?
The Givenchy dinosaur dress
@Jannamayy – What colour best represents your personality and why?
Sea green because that’s the colour of my eyes and I’m obsessed with the ocean for some unknown reason
@flawkward – What was your favourite music video to make?
What the water gave me because I didn’t have to do that much
Aleksandra Mielec – What does the line 'up against the wall on the Wednesday afternoon' (Heartlines) mean?
That’s a secret!!