But getting older meant the songs became much more direct and literal. And that was quite important to me, as an artist, to feel that was okay and to kind of own it and own who I was.
It was almost like I had to own the bad and the good, equally, to kind of be more vulnerable. With this album, there was a need to be freer, perhaps, and more visceral. I feel like I say the same thing about this record. How would I amend? A: It is — when it happens and the record is released. It felt like I was being insane just before the album came out. But, a couple of years ago, I had a few in Amsterdam, got on stage and hated it. It was part of my journey; I had to go there. A: When I spoke to you then, it would have been really fresh that I was not drinking at all.
So I think I was really scared and confused about what that meant to my life. I have to say the depth of the performance and places you can go to in your work are really deeper sober. I do think that chaos, hangovers and self-loathing were an essential part of my creative make-up.
What has been really beautiful is to find that creativity is not aligned with self-destruction. I can be more creative and go further in my work, and experience more, from a place of clarity. And I did not know that.
A: Yes! It really worked! A: Yeah. But this time, it was looking how to do it in a less classically grand way, something that had more elements of jazz or psychedelia. A: Wow. Well, I guess it was. The Beatles, in terms of making music that was kind of moving toward a more transcendent space — and even into posing more spiritual questions in pop music — were definitely an influence for this record.
Q: Kamasi Washington, who is featured on your new album, is opening for you when you perform at Viejas Arena in San Diego. I am pretty sure that this will be the first time any jazz artist has ever performed in that venue. What does Kamasi bring to your music and how big a jazz fan are you in general? A: Oh, wow! Known for her big voice and long notes, there's a reason why her first album was called "Lungs"! Her quriky and whimsical fashion sense hasn't gone unnoticed and Florence has performed on the catwalk for Chanel, she's graced the cover of Vogue magazine, and she's now the newest ambassador for Gucci jewellery and watches.
When Florence heard that year-old Karinya Chen, who was battling bone cancer, was too ill to attend her concert in her hometown of Austin, Texas she visited the hospice that Karinya was staying in to sing with her. Florence's lyrics are pure poetry. She takes songwriting to a whole new level by telling stories that give you all the feels.
They are fallible, they ride emotional highs and lows the same way we do. We see ourselves in the way she acts on stage, just as much as we see our lives in her songs. They jump around wildly to every song. The energy of this crowd, who are completely dedicated to her, is enough. And when she jumps into the crowd, the show hits an emotional peak. It feels almost cathartic. Raw, emotional and relatable songs that connect deeply.
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