Start Listening To: Flo Wilkes
A conversation with Flo Wilkes on live energy, performative men, and turning indie-rock energy into satirical alt-pop storytelling.
Punchy, self-assured, and brimming with personality, Flo Wilkes’ latest single ‘Henry’ fuses bold instrumentation with tongue-in-cheek lyricism. On the track, Wilkes calls out a bad partner, lamenting that she should have “got down with Henry,” his best friend, instead: a satirical gag that blends heartbreak with self-empowerment. Co-written with award-winning producers Georgia Lowe and Archer Levy at Sundown Studios, the track marks Wilkes’ second collaboration with the studio following the introspective ‘Sober’, which caught the attention of BBC Radio 1.
‘Henry’ is accompanied by a visually striking music video directed by Louis Philpott, with caricatures of performative men fighting at the nightclub, bringing to life a theatrical clash of youth and collective energy through a 30‑person crew and 90-person cast. A formidable live performer since the age of nine, Wilkes crafts music that resonates on stage and in headphones alike, and with a string of upcoming releases, she continues to stake her claim in the UK alt-pop scene.
For someone discovering your music for the first time, where should they start and what kind of world are they stepping into?
My songs that are out are all so different, so I’d say the best place to start is a live show! I’ve always based my recordings on what works best for my band and me because I think live music is the forefront of keeping London’s music scene alive. At a live show, my songs are honest, as I put my heart on my sleeve but don’t sugarcoat anything. “Sober” is heartbreaking, about loving the wrong person, whilst ‘Henry’ flips that on its head and slates the performative man.
What was the real-life moment that sparked the idea for ‘Henry’?
I was in the studio, ranting about a guy who was constantly talking about his best friend while doing performative things to get my attention. I joked that I should have just dated his best friend if he was really all that, that became the lyric “should’ve got down with Henry,” and the song wrote itself in about an hour.
The ‘Henry’ music video leans into this almost theatrical club chaos with a huge cast of dancers and performers. What was the atmosphere like on set?
It was genuinely magical. I couldn’t believe the scale of production and the number of talented people giving their time and energy to a song I wrote over a year ago. I arrived late and the crew was already setting up. I immediately felt overwhelmed with gratitude and excitement, the enthusiasm on set was unmatchable. I don’t know how I got so lucky! I genuinely don’t have the words. I don’t know if I ever will!
You worked with producers Georgia Lowe and Archer Levy at Sundown Studios. What did they bring to the track?
They created a space where the boundaries could be pushed. Georgia added a fun, girly vibe I hadn’t had before, and Archie’s instrumentals gave the lyrics a world to live in. I even had a key change idea, and instead of being confused, Archie helped turn it into the coolest verse switch-up. Most importantly, they gave me freedom to experiment without judgment
Your previous single “Sober” was softer and introspective, while ‘Henry’ is punchier and more defiant. Do those songs represent different sides of you?
They’re both honest and don’t sugarcoat my feelings. “Sober” came from heartbreak, ‘Henry’ is playful and confrontational, making fun of a bad partner while imagining an alternative choice. They’re different periods of my life, but both exist in the same sonic world because of their honesty.
You’ve been fronting a band since you were nine. Looking back, what do you think younger you would make of your music now?
I think she’d be impressed but also confused why I wasn’t doing hard rock! She’d love the harmonies, the chord progressions on “Sober”, and the club feel of ‘Henry.’ When I was younger I was entirely live music oriented – I didn't have a clue about writing or artist branding until I was 18. She’d be happiest that I finally created a solo career and have a band.
Your music sits between indie rock energy and pop storytelling. Which artists made you realise you could combine those worlds?
Nieve Ella, Cil, Queen, Sabrina Carpenter, Madison Beer and Gracie Abrams – especially their live performances. I felt trapped between my live identity and studio identity for a long time, and didn’t think I could combine the two. But watching these artists showed me it was possible. Nieve Ella’s “Watch It Ache And Bleed” was life-changing. I’d walk down the street imagining the songs were my own and performing them with my band. Gracie Abrams’ live shows gave me excitement about doing the same. Growing up in a rock band meant that energy was always going to be part of my music, I just didn’t have the courage to add it until I met the right people.
You’ve built a strong live reputation, from festivals to headline shows. How does performing your songs live change your relationship with them?
Performing songs makes them feel real. Singing lyrics to other people creates vulnerability, and even introducing a new song to my band takes courage. But playing them live inspires a new love for writing. The industry is tough and it's easy to dissociate from what you’re actually doing, so performing live gives me a chance to come back to the ground and think about why I got into music in the first place.
Looking ahead, what kind of world do you want to build around your music, visually and sonically?
I want to maintain my honesty through my next songs, perhaps building in some more clever lyrics. The visuals change with the songs: “Sober” was summer and endless fields, whilst ‘Henry’ was club lights and dancing. Sonically, I want to keep my live sound, with vocals dominating and my band more involved. I want a universe with different worlds within it, if that makes sense!
What’s next for Flo Wilkes?
A new release soon, lots of upcoming shows, and maybe an EP on the horizon ;)