FLO: ‘We’re the best thing since sliced bread’
The UK girl group have emerged from a testing few years with their unbreakable bond intact – and a debut album, Access All Areas, that delivers on the promise of their hype
The debut album from FLO, Access All Areas, took the best part of three years to find its direction. The number-switching and lock-changing on the good-for-nothing boys chronicled in their viral debut single “Cardboard Box” was a baby-faced introduction to the girls as they were back then. The lyrics were rough and ready (“Ima put your shit in a cardboard box”), but there was an unmistakable quality to their harmonising that was well beyond their years. Now, nearing five years together, the three young women of FLO are (still) in the throes of growth, but it’s the experiences in the past two-and-a-half years that have informed the album. For Jorja Douglas, Stella Quaresma and Renée Downer, a reintroduction may not be strictly necessary, but there is a story in the journey they have been on – a snapshot behind the scenes of the making of a band, and the breaking of anything (or anyone) that stands in the way of their success.
Seated around a semi-secluded corner table at The Standard’s Decimo restaurant in London, the girls are a few days out from a scheduled performance at Lollapalooza Chicago, but there is little haste. It’s a rare moment of respite they welcome among all the preparations, even though, technically, they’re still at work. After scanning the drinks menu, Jorja opts for a honey and saffron amaretto sour and, when Renée asks for peppermint tea with honey, Stella follows suit. But what will they eat? “Erm…” Renée ponders aloud. “What are we not going to eat?!” Jorja jokes. Our orders are taken and the table is cleared of menus as Jorja circles the table, filling everyone else’s glass with water before pouring her own. “Let’s get it cracking,” Stella prompts as Renée’s signature knotless goddess braids are swept out of her face and she begins to tell me the story behind their naming ceremony.
“We were coming up with loads of names like ‘Her Story’, ‘Minx’…” she recalls with a slight cringe. “Minx?!” Jorja and Stella shout incredulously. “Oh my gosh,” Stella drones with subtle embarrassment. “Yeah! Minx was in there! What else?” Renée asks as eyes shift between one another in the silence. “A bunch of stuff that wasn’t memorable, clearly.” Stella interrupts. “Her Story was probably the best but it’s also a bit, like… get a grip,” Jorja finishes. FLO was a placeholder name taken from a mysterious white cat milling around at Island House – a residence set up by the label where the artists could “do whatever, really” – that they decided to name. “Anytime we’d say we were thinking of calling ourselves FLO people would laugh and be like, ‘FLO? Like the period app? You guys can’t be called FLO!’ But it stuck and here we are. We’ve given it meaning, you know… Flo[w], we’re in sync and there are three of us. Everything works!” Renée says, before Jorja inserts cheekily: “Period!”
Jorja has a way with words that leaves little room for one’s own conclusions to be drawn. As the eldest, and self-proclaimed “sassy” one of the group, she can be soft and carries mama bear-like qualities and is a witty conversationalist. “I feel like I’m good at making decisions or sparking thoughts that lead to decisions, if that makes sense?” she says when asked what she brings to the group. Stella, the middle child of FLO, maintains a level of calm throughout our conversation that stands in contrast to Jorja. When she does speak, her contributions are well-timed and considered. “I’m definitely the most level-headed one,” she affirms. “I can see different points of view very easily and I’m one to take a minute to assess the situation. I’m a big assessor. I like to assess the room and situation before I speak.” Renée and Jorja both agree that Stella is also the funny one, whereas Stella describes Renée as “very organised. She keeps us in check but she’s also the baby as well. She’s very sweet and caring.” Renée is both beyond her years and endearingly young. She is the youngest in the group but in no way a liability, as can be the case stereotypically. “I make sure that we don’t miss anything, and discuss and stick to deadlines which is very important because this is a business,” she says. “Stella is like my chill sister that will be on anything and Jorja is like my big sister that will clart me and tell me what I should be doing, but she’ll hold me down and always have my back.”
“We were thrown into the deep end as far as being in business with a bunch of strangers goes. The pandemic allowed us not only to bond with each other but to make that bond unbreakable” – Jorja
The members of FLO are each their own women, but also a sisterhood in sync. Their journey as a band began in 2019 after being formed by Rob Harrison, an A&R at Island Records on the lookout for singers to form a girl group. At the time, the girls were all posting videos singing covers on Instagram: “You know, that’s what the kids were doing and that’s how he found us,” Renée says of their now ex-manager, with whom they parted company this year. “I got an email from Rob saying, ‘I’m putting together a girl group. I’ve seen your videos, can I come to see you sing somewhere?’” says Stella, recalling how the pieces all fell into place. Fast-forward through a few rounds of group sessions mixing with different girls in different groups, and the three of them were put together, with this year marking their fifth anniversary. In fact, the group came together right before the pandemic, which was something of a blessing in disguise for the girls. “With the pandemic came so much conflict, whether it be [with] the label or management, so we had the chance to get totally on the same page with each other and battle through all these issues,” Jorja explains. “We were thrown into the deep end as far as being in business with a bunch of strangers goes. The pandemic allowed us not only to bond with each other but to make our bond unbreakable.”
I also notice how fans, or ‘FLO Lifers’ as the band has dubbed them, can be very opinionated. In fact, generally speaking, fandoms nowadays tally stream numbers and critique era-rollout plans and creative direction more rigorously than the people paid to do so. The girls aren’t blind; they see it all. In fact, they often agree with their assessments. “We kind of agree because of the journey we’ve been on,” says Jorja. “We’ve seen first-hand the flaws and holes where A&R and marketing are concerned. To be honest, it’s kind of refreshing to see that people see what we see. It’s nice to have the majority appreciate and enjoy what we’re doing because we are trying really hard, but it also reminds us that we’re not crazy and that the grievances we have behind the scenes are valid, because other people were noticing them too.”
Laruicci cuffs (right hand).
Another bump in the road came at the end of their tour in 2023, with the girls scheduled to release their debut album at the end of the year. The time drew closer, but they knew they weren’t quite ready. From their image to their overarching brand, it wasn’t quite together in the way they’d imagined. So they released their second EP, 3 of Us, featuring tracks (“Change”, “Control”) originally planned for the album as a means to temper fans’ impatience. It did the job but still, it felt like a representation of where they were and not necessarily where they were going. “We hadn’t had that conversation about what the album is,” says Jorja. “We were making a bunch of songs; it was what felt good and right. But it wasn’t until the end of last year that we sat down and were like, ‘What are we trying to say? This is our first album. Let’s keep it simple. No one suffered a tragic breakup; we don’t have a specific topic to talk about. So let’s just talk about life and becoming the women we are.’”
“Access All Areas” is the title track. A theatrical moment with a live band that captures the glamour of the Motown divas before leaning into a thumping bassline, hi-hat and snares straight out of the (old) new millennium. It’s confident, sexy and in control. “What’s done in the dark, got me catchin’ feelings / This ain’t about my heart, it’s about the feeling… of when you push up on me,” Stella croons on the opening track. “We were leaning into that retro [sound], especially on ‘Access All Areas’, but it runs through the whole album as well,” Jorja explains. Recorded in LA with Pop Wansel (Ariana Grande, Nicki Minaj), Sevyn Streeter (Normani, Kelly Rowland) and MNEK (Beyoncé, Dua Lipa), it sets the tone for what follows. “Pop’s music carries a time period and an essence. So when we wrote this song, we felt like it was our big song, like it was quintessential FLO,” Renée proclaims. It’s Stella’s favourite track on the album, “only because I love [Motown film and stage show] Dreamgirls… I want to be in Dreamgirls one day and it gives Dreamgirls. It’s such a throwback but it’s still now. It’s paying homage and it’s just great.”
“‘I’m Just a Girl’ is funny because I feel like a lot of people belittled us or didn’t see what we saw in terms of what we were capable of” – Renée
“Bending My Rules” is a slower, softer and more vulnerable deep-cut backed by a hi-hat metronome, marching band instrumentation and a consistent, thumping bass. Its vocal outro is a standout, with ear-candy harmonies and piano accompaniment. An electric guitar plucks riffs throughout as the girls serenade sweet nothings in harmony. “How Does It Feel” is a chart-ready, no-holds-barred showcase of the girls seizing control of the narrative: “Tell me how does it feel to have the baddest? / That last girl you had, know she was practice / If we keepin’ it real I ain’t no average / now that you have it, I need to ask this.” “In My Bag” brings out the group’s fun side, a playfully braggadocious song for the girl’s-girl. I ask them if all the songs are directly related to them or if they’re more about embodying a particular vibe and they tell me it’s a combination of both. For “In My Bag”, says Renée, “It’s like future versions of ourselves, like manifestations. It’s a manifesto to look back on and be like, ‘We did that, and now I’m in my bag.’ In order to get in our bag, we have to say we’re in our bag – and now we’re in our bag we can sing it.”
The turning point for the album was when they were in the writing camp for “Shoulda Woulda Coulda”, a textbook ‘I’m over this man’ moment. Renée was certain it was the strongest song on the album at the time, but then along came “I Would Hate to Be My Ex”, a later-stage post-breakup anthem, and “Nocturnal”, a manifestation melody, and a slew of other tracks that made them start to refine and rethink the album’s narrative. “We wrote down the topics we wanted to discuss and we were able to see that we had four songs that were, like, ‘I love my man’, and four songs that were [all] ‘I’m a Bad Bitch’, but where were the songs about ourselves?” says Jorja. “Then we were like, ‘OK, cool – when we go into the sessions now, let’s try and write a song about that.’ It wasn’t until we had that conversation at the end of last year that we were really able to properly focus on finishing the album. It’s taken a year of really focused, concentrated creation, [rather than] creating a bunch of songs just because.”
One particular song on that album that is directly related to the girls and their experiences is “I’m Just a Girl”. It’s the last song on the album, and feels like their Rihanna Rated R moment. “Give me the spotlight and tell me I’m not bright, act like I can’t shine without it,” goes one lyric on the track, which spotlights their troubles as young Black women left to navigate the music industry from their late teens. “Yeah, you’re testing my patience, underestimation / with your conversation ’bout my reputation / Yeah you want me good girl, say shut up and look good / but damn, what would you know about it?” “That song is funny because I feel like a lot of people belittled us or didn’t see what we saw in terms of what we were capable of,” says Renée. “Because we were young, people thought they could take the reins,” adds Stella. However, what ended up as a battle cry of sorts was initially another sexually charged track that MNEK reframed, because “we needed a song to address our feelings towards the industry and we didn’t have the right song [to do it],” says Renée. “We did have the right song, actually. Fame and shit, you will have justice!” Jorja proclaims, thudding the table with mock-dramatic effect.
After their quick US stint at Lollapalooza, the group will join Kehlani on her Crash world tour in the autumn. Then, of course, their own tour following the release of their debut. “We want everyone to be talking about it,” says Jorja. “We think this music is groundbreaking; we think we’re the best thing since sliced bread. Call us delusional, but you’ve got to be. I just really hope that people get to share the vision with us and that they get us. We believe in it and want them to be on that journey with us, we want that fanbase that is going to be coming to our tours when we’re, like, 40 years old… Obviously, awards and stuff would be nice too! And money, I could do with a little bit of that.”
Another luxury they’re rarely afforded right now is time. They wish they could stop for a second, but also recognise that they are working now so they can work less later. If they could, what would they want to ask their future selves? The room goes quiet for a moment. “Poignant silence…” says Stella. “What I want to ask myself is… how big is your wardrobe? Do you have the Birkin? How many Chanels?” says Renée. “Are you peaceful? Are you joyful?” Stella asks, before Jorja piles on: “Are you still alive? Did you make it?” They all laugh until Renée weighs in, suddenly serious. “Are you genuinely happy with every area of your life? Your family, relationships, your impact on the world? We have to contribute. That’s important to us. We have good morals and through pursuing our career, we want to help as many other people as we can. So there’s always a bigger picture.”
Source: https://www.dazeddigital.com/music/article/64522/1/access-all-areas-flo-dazed-interview-autumn-2024
Credits:
Hair VIRGINIE MOREIRA at MA+ TALENT using SAM MCKNIGHT, make-up ANA TAKAHASHI at ART PARTNER, nails LIIA ZOTOVA at FUTURE REP using APRÉS NAIL, models JAMES CORBIN at MC, FIN DEARSLY at NEVS, PETER WEAR at UGLY MANAGEMENT, set design SAMUEL OVERS at NEW SCHOOL, photographic assistants SIMON WELLINGTON, SAM BONARD, DYLAN MASSARA, styling assistants ANDRA-AMELIA BUHAI, LEA ZÖLLER, ARIELLE NEUHAUS GOLD, MONICA JIANG, tailoring CARSON DARLING BLAIR, hair assistants SHAHIYAN MASON, ALESSANDRO SPIOTA, make-up assistants CHLOÉ PALMER, JOEL BABICCI, nails assistant AMI RAI, set design assistants FELIX VILLIERS, BEN ROBOTHAM, ANDREW WOJCIECHOWSKI, CAL MCGARRITY, production PARENT and THE ARCADE PRODUCTION, production assistants TAKI VLAHOPULOS, EVIE ROSE, STEFANIA CARLI, post-production HELEN RETOUCH, casting MISCHA NOTCUTT at 11CASTING, casting associate OPHELIA HORTON at 11CASTING.
